In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.
{"title":"Decoration and Nostalgia - Historical Study on Visual Matrices and Forms of Diffusion of Fêtes Galantes in the 20th Century","authors":"Vânia Carneiro De Carvalho","doi":"10.54941/ahfe1001365","DOIUrl":"https://doi.org/10.54941/ahfe1001365","url":null,"abstract":"In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123259183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper aims to explore the problematics of the creation of visual identity forterritories. The visual representation of territories must be illustrative of the values,culture and history of the territory, with the ultimate goal of the creation of selfrecognitionin its inhabitants... As a case study we bring the creation of the visualidentity for the International Congress on Sustainable Development, LandscapePlanning and Territorial Governance (SD2021). The challenge was launched forfirst-year students of the master’s degree in Digital Identity Design at PortalegrePolytechnic.
{"title":"The Creation of the Identity for the Territory Themes: The International Congress SD2021 as Case Study","authors":"Vera Barradas, C. Rijo","doi":"10.54941/ahfe1001383","DOIUrl":"https://doi.org/10.54941/ahfe1001383","url":null,"abstract":"This paper aims to explore the problematics of the creation of visual identity forterritories. The visual representation of territories must be illustrative of the values,culture and history of the territory, with the ultimate goal of the creation of selfrecognitionin its inhabitants... As a case study we bring the creation of the visualidentity for the International Congress on Sustainable Development, LandscapePlanning and Territorial Governance (SD2021). The challenge was launched forfirst-year students of the master’s degree in Digital Identity Design at PortalegrePolytechnic.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"171 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122513628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The prefix and preposition between come from the Latin inter. It indicates the position in the middle of two things. It is a spatial and a temporal limit as inter-open, interweave, and interpose. It expresses exchange and reciproc-ity. The term in-between imbues all these meanings. It brings this open place and time where different ways of looking and living in our world mix together or complete each other in a universal perspective. We expose the interrelationships between design, knowledge, cultures, identities, and ter-ritories. We also elucidate the mixtures, miscegenation, and hybridizations between oneself and another or between a designer and an artisan. This pa-per evidences the contact zone that defines another place, which is no long-er mine or the others as told by Pratt's “between-places” [1] in an in-between-time of between-beings.
{"title":"Design in-between Knowledge, Cultures, Identities, and Territories","authors":"Carla Paoliello","doi":"10.54941/ahfe1001378","DOIUrl":"https://doi.org/10.54941/ahfe1001378","url":null,"abstract":"The prefix and preposition between come from the Latin inter. It indicates the position in the middle of two things. It is a spatial and a temporal limit as inter-open, interweave, and interpose. It expresses exchange and reciproc-ity. The term in-between imbues all these meanings. It brings this open place and time where different ways of looking and living in our world mix together or complete each other in a universal perspective. We expose the interrelationships between design, knowledge, cultures, identities, and ter-ritories. We also elucidate the mixtures, miscegenation, and hybridizations between oneself and another or between a designer and an artisan. This pa-per evidences the contact zone that defines another place, which is no long-er mine or the others as told by Pratt's “between-places” [1] in an in-between-time of between-beings.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132922522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper presents the bases of a documentary about the conversion of the business sector and the performing arts in the North of Portugal, during the pandemic. The documentary intends to prove that the introduction of innovative procedures can be important to all sectors involved in society. Liquid reality (Bauman, 2005) demands constant exploration; therefore, it challenges designers to create sustainable products. Knowing that spectacle is about human connection, a process disconnected from visual culture can contribute to the public ignoring the participation of design as an area of knowledge. Between 2021 and 2022 a territorial network system was developed consisting of researchers, a lighting company, a raw materials industry, a municipality, company, a theatre, entertainment companies and a school of music of the North of Portugal. It was possible to develop systemic lighting products at the prototype level, bearing new semantic paths, performance, and interaction with people. The prototypes were developed by a lighting company. In theatre, the prototypes were joined by musicians to interpret pieces by Debussy and Dvořák. This group was joined by an actor who declaimed Mallarmé and Longfellow. The result was recorded on video by technicians and disseminated on YouTube and Instagram.The study investigates the dynamics of a creative process and its impact on the different areas involved, bringing together the testimony of the various actors in the process, challenging assumptions and bringing a new view to reality events. The golden age of documentaries happened in the 80’s (Rosenthal, Corner, 2005), and today the dissemination of documentaries happens through internet. As the documentary film never had a precise definition (Nichols, 2017), this study contributes to the autonomy of this typology of artistic production. The documentary methodology combined with the use of social networks manages to achieve a broader societal impact and in an effective way. An experimental theme related to different areas of knowledge attends a design-driven innovation (Verganti, 2009) and not a market-oriented process that could compromise the experimental factor. The documentary can become an occasion to promote discussion between the notions of science and art, fiction and non-fiction, business and art, teaching, and profession. It is intended to demonstrate that the process of cooperation between different areas is a sustainable choice that respects and values the project partners, assuming a social commitment. The film interprets the current reality, dealing with what happened before, during and after filming and conveying social interest and debate about the role of creative processes in transforming reality.The research already includes a post-doctoral, the publication of a book, a video, a promotional teaser, 2 prototypes and interviews with some stakeholders, so that it can expand its potential to a larger project with the aim of generating innovatio
{"title":"Design and creativeness for a three-act session","authors":"Liliana Soares, E. Aparo, R. Almendra","doi":"10.54941/ahfe1003537","DOIUrl":"https://doi.org/10.54941/ahfe1003537","url":null,"abstract":"This paper presents the bases of a documentary about the conversion of the business sector and the performing arts in the North of Portugal, during the pandemic. The documentary intends to prove that the introduction of innovative procedures can be important to all sectors involved in society. Liquid reality (Bauman, 2005) demands constant exploration; therefore, it challenges designers to create sustainable products. Knowing that spectacle is about human connection, a process disconnected from visual culture can contribute to the public ignoring the participation of design as an area of knowledge. Between 2021 and 2022 a territorial network system was developed consisting of researchers, a lighting company, a raw materials industry, a municipality, company, a theatre, entertainment companies and a school of music of the North of Portugal. It was possible to develop systemic lighting products at the prototype level, bearing new semantic paths, performance, and interaction with people. The prototypes were developed by a lighting company. In theatre, the prototypes were joined by musicians to interpret pieces by Debussy and Dvořák. This group was joined by an actor who declaimed Mallarmé and Longfellow. The result was recorded on video by technicians and disseminated on YouTube and Instagram.The study investigates the dynamics of a creative process and its impact on the different areas involved, bringing together the testimony of the various actors in the process, challenging assumptions and bringing a new view to reality events. The golden age of documentaries happened in the 80’s (Rosenthal, Corner, 2005), and today the dissemination of documentaries happens through internet. As the documentary film never had a precise definition (Nichols, 2017), this study contributes to the autonomy of this typology of artistic production. The documentary methodology combined with the use of social networks manages to achieve a broader societal impact and in an effective way. An experimental theme related to different areas of knowledge attends a design-driven innovation (Verganti, 2009) and not a market-oriented process that could compromise the experimental factor. The documentary can become an occasion to promote discussion between the notions of science and art, fiction and non-fiction, business and art, teaching, and profession. It is intended to demonstrate that the process of cooperation between different areas is a sustainable choice that respects and values the project partners, assuming a social commitment. The film interprets the current reality, dealing with what happened before, during and after filming and conveying social interest and debate about the role of creative processes in transforming reality.The research already includes a post-doctoral, the publication of a book, a video, a promotional teaser, 2 prototypes and interviews with some stakeholders, so that it can expand its potential to a larger project with the aim of generating innovatio","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133713786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present research focuses on the analysis and later proposal of a logo's ideation, construction, and interpretation process. To fulfill this objective, the concepts and methodologies of graphic design and brand identity were collected to support the function and classification of a logo. However, this is not a closed model, being just an indication that can contextualize and guide professionals in their creative process in developing a logo.
{"title":"Identity Design: A Procedural Approach for the Ideation, Construction, and Analysis of Logos","authors":"Rodrigo Morais, J. Ribeiro","doi":"10.54941/ahfe1001380","DOIUrl":"https://doi.org/10.54941/ahfe1001380","url":null,"abstract":"The present research focuses on the analysis and later proposal of a logo's ideation, construction, and interpretation process. To fulfill this objective, the concepts and methodologies of graphic design and brand identity were collected to support the function and classification of a logo. However, this is not a closed model, being just an indication that can contextualize and guide professionals in their creative process in developing a logo.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115119080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Higher education, more specifically in the scientific area of product design at the School of Architecture of the University of Lisbon, has sought to adopt new methodologies and exercises to balance theory and practice through the articulation of several curricular units. In the scope of the Master in Product Design, the articulation between the units of Sustainability of Products and Services and Product Engineering and Production Systems are positioned as an integral and fundamental part of the project practice. These disciplines integrate the product development exercise through the research and analysis of information associated with the history and life cycle of the object under study, the use of software to obtain technical data, an environmental impact assessment, handling and direct observation to recognise functional modules, components and materials, and the production of diagrams and tables for the identification, description and correlation between the constituent elements of the product-system.The disassembly of existing products on the market in an academic environment combined with the research of the typological evolution of the equipment and the mapping of its life cycle, enables hands-on analysis and exploration of materiality. This approach allows design students to focus on solving real problems and exercise systemic thinking through the reformulation through the possibility of reviewing functional, technical, and ecological priorities of the original product. In this view, this paper results from an analysis to understand the benefits of 'reverse designing' to learning about sustainability strategies and planning of the production system of these products with direct consequences on the results of the projects of the Product and Service Design discipline.
{"title":"Disassembly Objects: The Importance of Materials in Product Design Education","authors":"P. Dinis, Inês Veiga","doi":"10.54941/ahfe1001425","DOIUrl":"https://doi.org/10.54941/ahfe1001425","url":null,"abstract":"Higher education, more specifically in the scientific area of product design at the School of Architecture of the University of Lisbon, has sought to adopt new methodologies and exercises to balance theory and practice through the articulation of several curricular units. In the scope of the Master in Product Design, the articulation between the units of Sustainability of Products and Services and Product Engineering and Production Systems are positioned as an integral and fundamental part of the project practice. These disciplines integrate the product development exercise through the research and analysis of information associated with the history and life cycle of the object under study, the use of software to obtain technical data, an environmental impact assessment, handling and direct observation to recognise functional modules, components and materials, and the production of diagrams and tables for the identification, description and correlation between the constituent elements of the product-system.The disassembly of existing products on the market in an academic environment combined with the research of the typological evolution of the equipment and the mapping of its life cycle, enables hands-on analysis and exploration of materiality. This approach allows design students to focus on solving real problems and exercise systemic thinking through the reformulation through the possibility of reviewing functional, technical, and ecological priorities of the original product. In this view, this paper results from an analysis to understand the benefits of 'reverse designing' to learning about sustainability strategies and planning of the production system of these products with direct consequences on the results of the projects of the Product and Service Design discipline.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124589269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Biodesign is an emerging area in the design field that addresses ecological concerns by working with or learning from organic processes found in living systems. Therefore, biodesign leans on knowledge acquired from other fields, especially sciences. A direct interdisciplinary collaboration between scientists and designers happens very often in biodesign. This paper describes the findings of interviews exploring how biodesigners collaborate with scientists in their activities. The authors conducted semi-structured interviews with ten experienced biodesigners from Europe and South America. After collected, the information of the different interviewees was synthetized and compared, and a thematic analysis was made. The paper identifies and reflects on the designers’ methods to collaboration. It also shows the impact of such partnerships, their relevance to the design field and the specific contribution design brings to science. In addition to the expected impact of science in the design field, the study indicated the influence that designers are achieving inside scientific contexts as co-workers or leaders of biodesign projects.
{"title":"Interdisciplinarity and Collaboration - A Study Focusing on Experienced Biodesign Practitioners.","authors":"A. Bandoni, R. Almendra, G. Forman","doi":"10.54941/ahfe1001374","DOIUrl":"https://doi.org/10.54941/ahfe1001374","url":null,"abstract":"Biodesign is an emerging area in the design field that addresses ecological concerns by working with or learning from organic processes found in living systems. Therefore, biodesign leans on knowledge acquired from other fields, especially sciences. A direct interdisciplinary collaboration between scientists and designers happens very often in biodesign. This paper describes the findings of interviews exploring how biodesigners collaborate with scientists in their activities. The authors conducted semi-structured interviews with ten experienced biodesigners from Europe and South America. After collected, the information of the different interviewees was synthetized and compared, and a thematic analysis was made. The paper identifies and reflects on the designers’ methods to collaboration. It also shows the impact of such partnerships, their relevance to the design field and the specific contribution design brings to science. In addition to the expected impact of science in the design field, the study indicated the influence that designers are achieving inside scientific contexts as co-workers or leaders of biodesign projects.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121094834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covi
本文介绍了以弗朗西斯·培根的图形作品为基础的两种教学实践。一个是在Escola Superior Artística do Porto举办的课程背景下，另一个是在universsidade Lusófona do Porto举办的课外背景下(都在葡萄牙)，旨在激发学生对弗朗西斯·培根的作品及其使用当代数字媒体的娱乐进行批判性分析和解释。这一倡议被纳入了在加亚新星葡萄酒世界博物馆举办的弗朗西斯·培根图形作品展览中，这是该博物馆、学院和伦斯达尔艺术基金会合作的结果，该合作旨在为艺术作品展览及其多媒体翻译中出现的辩论提供声音和生命。因此，这次展览的目的是用多媒体语言来补充艺术家的作品，通过学生对画家作品的多种解释和数字动画，并针对数字原住民，因为展览的一个流是针对当地的中小学。参与这项计划的学生来自不同的学士学位，包括传播设计、美术及中级、视觉艺术-摄影、电影及视听、视听传播及多媒体、电子游戏及多媒体应用。这使得具有不同概况和背景的多学科学生团体聚集在一起，在视觉和技术资源方面都取得了无数的成果，其中包括以下方法:使用接近于旋转显微镜的技术，学生在原始图像上逐帧创建图纸;剪切动画技术的探索;弗朗西斯·培根作品的3D再现;图像处理，编辑和视频效果的探索。在学术背景下，这些实践导致了对不同于学生一代艺术家作品的深入了解;让他们有机会与真正的客户一起工作，将他们在攻读学士学位的各个课程单元中获得的知识应用到项目中;也有可能看到他们的作品被整合到国际展览中。至于弗朗西斯·培根的平面作品展览，这个学术项目将画家的平面作品与数字媒体无处不在的一代人的多重诠释相结合，为空间带来了新的活力。本文描述了两所大学采用的教学实践，分析了学生的项目，以及这些项目通过从参观者那里收集的信息、发表的文章和对展览策展人的采访为展览带来的贡献。据专员夏洛特·克拉普茨(Charlotte Crapts)称，考虑到该国正在经历新冠肺炎限制，该展览的营业额“令人印象深刻”。关长认为，多媒体的介入为教育界架起了一座桥梁，之后展览与许多青少年互动。这是展览空间的一次开创性的实践，将在未来的展览中被遵循。
{"title":"Interpreting Francis Bacon's Work through Contemporary Digital Media: Pedagogical Practices in University Contexts","authors":"Cláudia Lima, Susana Barreto, R. Carvalho","doi":"10.54941/ahfe1001420","DOIUrl":"https://doi.org/10.54941/ahfe1001420","url":null,"abstract":"This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an \"impressive\" turnover bearing in mind that the country was going through Covi","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122259874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper aims to develop an academic project in the field of design under the theme"New European Bauhaus" with the aim of contributing to a better experience andliving in the city and the development of a more sustainable city. The theme has afocus on the project developed in the Master of Digital Identity of PortalegrePolytechnic that intends to know the city of Portalegre from a singular place and itsidentity. This study is part of this international project called “Design, experience,and identity: meeting spaces to design a livable city” that has the collaboration of sixNational and International Higher Education Institutions and aims to address thisinterdisciplinary issue through the development of academic projects in thedisciplinary field of design. In these ways we can contribute to a better experience inthe city, as well as to a more sustainable development of the place, without losingsight of its identity.
{"title":"Co-Design as a Tool to Improve Our Cities.","authors":"Vera Barradas, C. Rijo","doi":"10.54941/ahfe1001382","DOIUrl":"https://doi.org/10.54941/ahfe1001382","url":null,"abstract":"This paper aims to develop an academic project in the field of design under the theme\"New European Bauhaus\" with the aim of contributing to a better experience andliving in the city and the development of a more sustainable city. The theme has afocus on the project developed in the Master of Digital Identity of PortalegrePolytechnic that intends to know the city of Portalegre from a singular place and itsidentity. This study is part of this international project called “Design, experience,and identity: meeting spaces to design a livable city” that has the collaboration of sixNational and International Higher Education Institutions and aims to address thisinterdisciplinary issue through the development of academic projects in thedisciplinary field of design. In these ways we can contribute to a better experience inthe city, as well as to a more sustainable development of the place, without losingsight of its identity.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"C-24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126475354","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Paula Reaes Pinto, Antonio Gorgel Pinto, Paulo Simões Rodrigues, Tiago Navarro Marques, R. Fragoso, R. Quaresma, José A. Ventura, F. Jorge, C. Marreiros
The project Up Start - Creative Industries is an initiative of the Aga Khan Foundation in partnership with the University of Évora and promoted by the Portugal Social Innovation program, focusing a particular synergy based in the areas of design for social innovation, heritage, and management. Its main objective is the development of an alternative economic model of socio-cultural innovation and creative practices with disadvantaged citizens. It aims to increase the participants income and improve the living conditions of the communities involved, namely migrant populations from the Lisbon metropolitan area, through the identification and mapping of techniques, arts and crafts developed by migrants from their cultural heritage.
{"title":"UpStart – Creative Industries through Design for Social Innovation, Heritage and Management","authors":"Paula Reaes Pinto, Antonio Gorgel Pinto, Paulo Simões Rodrigues, Tiago Navarro Marques, R. Fragoso, R. Quaresma, José A. Ventura, F. Jorge, C. Marreiros","doi":"10.54941/ahfe1001416","DOIUrl":"https://doi.org/10.54941/ahfe1001416","url":null,"abstract":"The project Up Start - Creative Industries is an initiative of the Aga Khan Foundation in partnership with the University of Évora and promoted by the Portugal Social Innovation program, focusing a particular synergy based in the areas of design for social innovation, heritage, and management. Its main objective is the development of an alternative economic model of socio-cultural innovation and creative practices with disadvantaged citizens. It aims to increase the participants income and improve the living conditions of the communities involved, namely migrant populations from the Lisbon metropolitan area, through the identification and mapping of techniques, arts and crafts developed by migrants from their cultural heritage.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116938743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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