Suchergebnisse

In a context where emergent technologies seem to promote participation and collaboration, video games, more social and mobile than ever, have become a convergent media whose possibilities for developing critical and democratic citizenship have not been explored. This work collected the viewpoints of international videogame designers that have participated in the development of videogames of a civic nature, regarding the development of civic competence through this media. In particular, it focused on the possibilities and limitations of the medium, suggestions for designing such experiences, the interpretation of several educational uses, both in formal and non-formal contexts, and the designers' perceptions about their professional role in the creation of these products. After the completion of emergent purposeful sampling, we conducted interviews with relevant game designers from the United States, Poland and Bulgaria. The results confirmed that game experiences can promote civic competence provided that they fulfil several design principles. Designers also identified good practices in formal and non-formal educational contexts. Finally, they expressed their willingness to work with other agents in the creation of educational experiences. ; En un contexto en el que las tecnologías emergentes parecen fomentar la participación y colaboración de los ciudadanos, los videojuegos, cada vez más móviles y sociales, se presentan como un medio convergente cuyas posibilidades para el desarrollo de una ciudadanía crítica y democrática apenas han sido exploradas. Este trabajo recoge la visión de diseñadores de videojuegos de carácter cívico sobre la promoción de esta competencia desde las experiencias de juego digitales. Se centra en el análisis de las posibilidades y limitaciones de los juegos, en posibles orientaciones para su diseño, en la interpretación de los distintos usos educativos tanto en contextos formales como informales y en la percepción que los propios diseñadores tienen de su rol profesional en la creación de estos productos. Tras un muestreo propositivo emergente, se realizaron entrevistas a diseñadores de referencia de Estados Unidos, Polonia y Bulgaria. Los resultados confirman las posibilidades que ofrecen las experiencias de juego para promover la competencia cívica siempre que atiendan a una serie de principios de diseño. Los diseñadores, además, identifican buenas prácticas en contextos de aprendizaje tanto formales como informales y muestran su disposición a trabajar con otros agentes en la creación de experiencias educativas. ; Num contexto em que as tecnologias emergentes parecem incentivar a participação e a colaboração cidadã, os videojogos, cada vez mais móveis e sociais, são um meio de convergência cujas possibilidades para o desenvolvimento de uma cidadania crítica e democrática não foram ainda praticamente exploradas. Este trabalho reúne a visão de designers de videojogos cívicos sobre a promoção desta competência através de experiências com jogos digitais. Centra-se na análise das possibilidades e limitações dos jogos, em possíveis orientações para o seu design, na interpretação dos diferentes usos educacionais, tanto em contextos formais como informais, e na percepção que os próprios designers têm do seu papel profissional na criação desses produtos. Após uma amostragem intencional emergente, foram realizadas entrevistas com designers de referência dos Estados Unidos, Polónia e Bulgária. Os resultados confirmam as possibilidades oferecidas pelas experiências de jogo para promover a competência cívica, desde que atendam a uma série de princípios de design. Os designers também identificam boas práticas em contextos formais e informais de aprendizagem e mostram disponibilidade para trabalhar com outros agentes na criação de experiências educacionais.

In Spain, the historic period that we know as Transition (1982-1992) is marked by the lack of women involved in the industrial design, although their gradual inclusion in design studies and their full entry into professional practice. The key turning point for this inclusion was the end of the Franco Regime and the political, social, legislative and cultural changes brought about by the transition to democracy. In this context, a new generation of female designers contributed to the advancement in the edition, manufacture, distribution and dissemination of beautiful and useful objects that make our lives more comfortable. However, the historiography was focused in this period on the figure of the male as creator, with such well-known references as Cruz Novillo, whose career has been reflected in a documentary entitled "The man who designed Spain." This article will provide female names who made outstanding contributions to industrial design in Spain throughout the democratic transition. The aim is to claim for women' space, a collective that has been repeatedly forgotten in historiography. ; En España, el período histórico que conocemos como Transición (1982-1992) se caracteriza por la escasez de mujeres en el ámbito del diseño industrial, a pesar de su progresiva incorporación a los estudios reglados y al pleno ejercicio de la profesión. Esta incorporación tuvo como punto de inflexión el final de Régimen de Franco, así como los cambios políticos, sociales, legislativos y culturales derivados del camino hacia la democracia. En ese contexto surgió una nueva generación de mujeres diseñadoras que han contribuido al avance en la edición, fabricación, distribución y difusión de objetos bellos y útiles que hacen nuestra vida más confortable. Sin embargo, la historiografía se ha centrado en este período en la figura del varón como creador, con referentes tan conocimos como Cruz Novillo, cuya trayectoria ha quedado reflejada en un documental titulado "El hombre que diseñó España". En este artículo se aportarán nombres femeninos que han realizado notables contribuciones al diseño industrial en España durante la transición democrática, con el objetivo de reclamar notoriedad para un colectivo que ha sido olvidado reiteradamente en la historiografía.

El artículo analiza, a partir de la biografía de Mario Corea, algunos temas arquitectónicos que, introducidos en la década del 60, continúan presentes en el debate disciplinar (escalas de trabajo, formas de enseñanza, relaciones entre postulados políticos y proyectos concretos). ; Considering the biography of Mario Corea, the article analyzes several subjects introduced in the '60, that are still present in the architectural debate (scales of intervention, ways of training, relationships between political postulates and actual projects). ; Facultad de Arquitectura y Urbanismo

El artículo analiza, a partir de la biografía de Mario Corea, algunos temas arquitectónicos que, introducidos en la década del 60, continúan presentes en el debate disciplinar (escalas de trabajo, formas de enseñanza, relaciones entre postulados políticos y proyectos concretos). ; Considering the biography of Mario Corea, the article analyzes several subjects introduced in the '60, that are still present in the architectural debate (scales of intervention, ways of training, relationships between political postulates and actual projects). ; Fil: Silvestri, Graciela. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de La Plata; Argentina

En España, el período histórico que conocemos como Transición (1982-1992) se caracteriza por la escasez de mujeres en el ámbito del diseño industrial, a pesar de su progresiva incorporación a los estudios reglados y al pleno ejercicio de la profesión. Esta incorporación tuvo como punto de inflexión el final de Régimen de Franco, así como los cambios políticos, sociales, legislativos y culturales derivados del camino hacia la democracia. En ese contexto surgió una nueva generación de mujeres diseñadoras que han contribuido al avance en la edición, fabricación, distribución y difusión de objetos bellos y útiles que hacen nuestra vida más confortable. Sin embargo, la historiografía se ha centrado en este período en la figura del varón como creador, con referentes tan conocimos como Cruz Novillo, cuya trayectoria ha quedado reflejada en un documental titulado "El hombre que diseñó España". En este artículo se aportarán nombres femeninos que han realizado notables contribuciones al diseño industrial en España durante la transición democrática, con el objetivo de reclamar notoriedad para un colectivo que ha sido olvidado reiteradamente en la historiografía. ; In Spain, the historic period that we know as Transition (1982-1992) is marked by the lack of women involved in the industrial design, although their gradual inclusion in design studies and their full entry into professional practice. The key turning point for this inclusion was the end of the Franco Regime and the political, social, legislative and cultural changes brought about by the transition to democracy. In this context, a new generation of female designers contributed to the advancement in the edition, manufacture, distribution and dissemination of beautiful and useful objects that make our lives more comfortable. However, the historiography was focused in this period on the figure of the male as creator, with such well-known references as Cruz Novillo, whose career has been reflected in a documentary entitled "The man who designed Spain." This article ...

Resumen: En un contexto en el que las tecnologías emergentes parecen fomentar la participacióny colaboración de los ciudadanos, los videojuegos, cada vez más móviles y sociales, se presentan como un medio convergente cuyas posibilidades para el desarrollo de una ciudadanía crítica y democrática apenas han sido exploradas. Este trabajo recoge la visión de diseñadores de videojuegos de carácter cívico sobre la promoción de esta competencia desde experiencias de juego digitales. Se centra en el análisis de las posibilidades y limitaciones de los juegos, en posibles orientaciones para su diseño, en la interpretación de los distintos usos educativos tanto en contextos formales como informales y en la percepción que los propios diseñadores tienen de su rol profesional en la creación de estos productos. Tras un muestreo propositivo emergente, se realizaron entrevistas a diseñadores de referencia de Estados Unidos, Polonia y Bulgaria. Los resultados confirman las posibilidades que ofrecen las experiencias de juego para promover la competencia cívica siempre que atiendan a una serie de principios de diseño. Los diseñadores, además, identifican buenas prácticas en contextos de aprendizaje formales e informales y muestran su disposición a trabajar con otros agentes en la creación de experiencias educativas. ; Abstract: In light of the value emergent technologies seem to place on participation and collaboration, video games, more social and mobile than ever, have become a convergent media whose possibilities for developing critical and democratic citizenship have not been explored. This work collected the viewpoints of international videogame designers who have participated in the development of videogames of a civic nature, regarding the promotion of civic competence through this medium. In particular, it focused on the possibilities and limitations of the medium, suggestions for designing such experiences, the interpretation of several educational uses?in both formal and nonformal contexts?and the designers? perceptions of their professional role in the creation of these products. After the completion of emergent purposeful sampling, we conducted interviews with relevant game designers from the United States, Poland, and Bulgaria. The results confirmed that game experiences could promote civic competence, provided they fulfilled several design principles. Designers also identified best practices in formal and nonformal educational contexts. Finally, they expressed their willingness to work with other agents in the creation of educational experiences.

Diseño y el riesgo del cambio" se relaciona con las complejidades de imaginar un futuro como destino de iniciativas de cambio significativo y luego sobre como algunas de estas iniciativas podrían ser formuladas por la comunidad de diseño1. Tal como Ulrich Beck, Anthony Giddens y otros sociólogos han formulado, efectivamente vivimos en una sociedad de riesgo, la mayoría del cual es causado inadvertidamente por nuestros propios actos. Un riesgo es el riesgo de cambiar el mundo en que vivimos por uno mejor, donde los problemas que nos atormentan en la actualidad, tales como el cambio climático, la pobreza y las amenazas militares, no posean el mismo nivel de influencia en nuestras vidas. Hablo del riesgo de crear una nueva cultura de sustentabilidad donde podamos vivir más cercanos a principios ecológicos y a los ideales de justicia social que han sido articulados en una serie de documentos, tales como la Declaración Universal de Derechos Humanos. ; Abstract "Design and the Risk of Change" is connected with the complexities of imagining the world as the destination of initiatives of meaningful change and then as how some of these initiatives could be formulated by de design community. As Ulrich Beck, Anthony Giddens and other sociologists have stated it, effectively we live in a society of risk most of which is caused without noticing by our won actions. Risk is the risk to change the world in which we live for a better one where those problems torturing us presently such as climate change, poverty and military threats, do not have the same influence level in our lives. I talk about the risk of creating a new sustainability culture in which we can live closer to ecological principles and to the social justice ideals that have been articulated in a series of documents such as the Universal Declaration of Human Rights.

Andrés Baño, Sergio De Loof y Kelo Romero representan tres casos de artistas-diseñadores e íconos de la Primera Bienal de Arte Joven, el movimiento de moda que en marzo de 1989 ofició de correlato estético y manifiesto luego del retorno a la democracia. Aquí un recorrido por sus obras y sus happenings más recientes ; The artists and designers Andrés Baño, Sergio De Loof and Kelo Romero were icons of the First Biennial of Young Art, a fashion movement that in March 1989 acted as a correlate aesthetic manifesto after the return to democracy. Here a tour of his works and his latest happenings. ; Andrés Baño, Sergio De Loof y Kelo Romero representam três casos de artistas –designers e ícones de correlato estético e manifesto depois do retorno à democracia. Aqui umpercurso por suas obras e seus happenings mais recentes

This article analyzes the tension between precariousness and professionalization, in the independent/self-managed/emerging scenic subsector of the City of Buenos Aires, focusing on the characteristics assumed by the artist-manager, and the paradox represented by the freedom/self-exploitation binomial, in the framework of neoliberalism, for the cultural workers. In the same direction, issues such as the institutional status of culture and the characteristics of the analyzed subsector are addressed, through the case of the cultural organization ESCENA; its production conditions, its audiences and its members. Along this path, we will try to transcend the imaginary of the independent scenic field, anchored many times only in the actors and actresses, to take, on the one hand, the multidimensionality of its agents; and on the other, the conception of community: the affective and supportive network that is woven between spaces, artists/managers/producers and the public. Cultural workers (performers, playwrights, directors, set designers, costume designers, lighting designers, sound designers) are subject to fragile labor conditions whose origins lie on different shores, ranging from the lack of regulation and corresponding legislation on the part of the State, even self-exploitation itself, the result of the processes of subjectivation characteristic of our neoliberal societies. This article approaches the context of health emergency due to COVID-19, highlighting and enhancing the weaknesses and shortcomings observed. ; En este artículo analizamos la tensión existente entre precarización y profesionalización, en el subsector escénico independiente/autogestivo/emergente de la Ciudad de Buenos Aires, centrándonos en las características que asume el artista-gestor y la paradoja que representa el binomio libertad-autoexplotación, en el marco del neoliberalismo, para lxs trabajadorxs de la cultura. En la misma dirección, abordamos cuestiones tales como el estatus institucional de la cultura y las características del ...

The following document sets forth the validity and usefulness of the promotional and outreach tools that industrial designers and design studios currently use to advertise their products and promote their services. From the perspective that the new media, platforms, and social networks pose as well as the technology that is associated with them, we will analyze tools and actions that traditionally have been applied by this group. From the virtual portfolio, the managing of exhibition events and creative talks, to interacting with new digital media and the general public. Focused on a national scope, the research work deals with aspects such as the current industrial designers employment situation and the industrial design economic impact in our society, always from the perspective that our recent socioeconomic measures carried out by the Different governments have imposed on this group. In addition, we have analyzed the current situation and the way of working that more than 80 currently active studies or industrial designers (from more than 380 creatives in total that have exhibited at Nude contest) and now are considered the current quarry of Spanish design. Their reality, the success or otherwise of their way of working, and the results they get, have been considered the benchmark on which to base the new methodologies of action. This study aims to show how the current industrial designers operate in a changing society, which requires to be constantly connected, sharing information and interacting, not only to maintain an updated knowledge of the reality that surrounds them at global level, but to get a place in an increasingly competitive and demanding market. ; En el siguiente documento se expone la validez y utilidad de las distintas herramientas promocionales y de divulgación que los diseñadores industriales y estudios de diseño utilizan en la actualidad para dar a conocer sus productos y promocionar sus servicios. Desde la perspectiva que los nuevos medios de comunicación, plataformas, y redes sociales ...

[ES] New technologies in architecture have shaped a new projectual paradigm, especially since the last two decades. Substantial change has taken place when the increasingly powerful software has moved from its instrumental status as a powerful tool for architectural representation to the field of ideation and architecture project; especially when designers have had access to modify the Mantzou code itself (1), as is the case with the parametric design. Obviously, the instrument is not innocent and the results end up being mediatised by it. ; 101 109 0 7 ; [ES] New technologies in architecture have shaped a new projectual paradigm, especially since the last two decades. Substantial change has taken place when the increasingly powerful software has moved from its instrumental status as a powerful tool for architectural representation to the field of ideation and architecture project; especially when designers have had access to modify the Mantzou code itself (1), as is the case with the parametric design. Obviously, the instrument is not innocent and the results end up being mediatised by it. ; OJS ; [ES] New technologies in architecture have shaped a new projectual paradigm, especially since the last two decades. Substantial change has taken place when the increasingly powerful software has moved from its instrumental status as a powerful tool for architectural representation to the field of ideation and architecture project; especially when designers have had access to modify the Mantzou code itself (1), as is the case with the parametric design. Obviously, the instrument is not innocent and the results end up being mediatised by it. ; Marcos, CL. (2012). ¿Construcción o fabricación? Nueva materialidad y fabricación digital. Universitat Politècnica de València. https://doi.org/10.4995/ege.2012.12505 ; [ES] New technologies in architecture have shaped a new projectual paradigm, especially since the last two decades. Substantial change has taken place when the increasingly powerful software has moved from its ...

There exist in our country more of a hundred of clothing designers whose products are quite different from those imposed by global trends. These independent designers,are small entrepreneurs who nourish their creativity and originality with the diverse and widelocal culture. This sector undergoes the constant threat of the copy: retailers, foreign brands,foreing designers, among others, observe their proposals eager for new inspirations demandedby consumers. The copy usually collaborates in the legitimización of the creators and innovators. Nevertheless, for these designers, who count on very small structures of little capital workand to invest in diffusion and positioning, the copy can become a weapon of double edge ableto destroy all dreams. In this industry a legislation does not exist to protect the creations. Theessay analyzes the copy in the fashion industry and the necessity of a copyright legislation fororiginal clothing designs ; En nuestro país existen más de un centenar de diseñadores de indumentaria que sediferencian con sus productos de aquellos impuestos por las tendencias globales. Estos diseñadores independientes, son pequeños emprendedores que nutren su creatividad y originalidad de lacultura local, diversa y extensa.Este sector sufre la constante amenaza de la copia: retailers, marcas, diseñadores extranjeros, entre otros, observan sus propuestas ávidos de nuevas inspiraciones demandadas por los consumidores. La copia suele colaborar en la legitimización de los creadores e innovadores. Sin embargo,para estos diseñadores, que cuentan con estructuras de trabajo muy pequeñas y poco capital parainvertir en difusión y posicionamiento, la copia puede convertirse en un arma de doble filo capazde llegar a destruir todos sus sueños.En esta industria no existe una legislación para proteger las creaciones. El ensayo analiza la copiaen la industria de la moda y la necesidad de derechos de propiedad intelectual para las prendasoriginales de indumentaria. ; Em nosso país existem muitos desenhadores de indumentária que se diferenciamcom seus produtos de aqueles impostos pelas tendências globais. Estes desenhadores independiêntes, são pequenos emprendedores que nutrem sua criatividade e originalidade da culturalocal, diversa e extensa.Este setor sofre a constante ameaça da cópia: retailers, marcas, desehadores extrangeiros, entreoutros, observam suas propostas ávidos de novas inspirações demandadas pelos consumidores.A cópia colabora na legitimação dos criadores e inovadores. Mas para estes desenhadores, quecontam com estruturas de trabalho muito pequenas e pouco capital para inverter em difusãoe posicionamento, a cópia pode se converter numa arma perigosa capaz de chegar a destruirtodos seus sonhos.Nesta indústria não existe uma legislação que proteja as criações. O ensaio analisa a cópia naindústria da moda e a necessidade de direitos de propriedade intelectual para as prendas originais de indumentaria.