Starting from drawing faced as a mark container left in a track of action. Seeing drawing as pros... more Starting from drawing faced as a mark container left in a track of action. Seeing drawing as prosthesis or memory urging in a game of visibility and invisibility where the mimesis of drawing feature becomes impracticable. Drawing as a translator and a converter of a body’s gesture in space. A drawing process that highlights a past event, something that happened and it is there no more, something that is now only just a trace of that past event – these are the marks printed by a body on a track of action. The poesis of mnematic-trace was recovered (that of something that soon will disappear), the memory that drawing represents (as in Butades myth) to assume by a design point of view a reflection as a symbolic element able to rise speculative urging of surrounding sociopolitical life events. We propose a contribution by a theoretical reflection about design as a conceptual deconstruction and social transformation. We see design as a discursive tool, whose objects will always be seen a...
Propomos colocar a questão da possibilidade criativa e inovação do projecto em design através do ... more Propomos colocar a questão da possibilidade criativa e inovação do projecto em design através do exercício prático do desenho. Partiremos da ideia de que o desenho é não apenas o veículo instrumental de representação do projecto mas, e sobretudo uma possibilidade de pensamento como repositório de experiências. Exercício de conhecimento e auto-reconhecimento do sujeito e do mundo ao qual pertence. Partiremos da interpretação dos conceitos de inovação e criatividade como factores diferenciados, propostos separadamente para o acto projectual do design e o processo artístico (diagrama1). Para através da consideração dos exemplos de desenhos de projecto de designers portugueses chegar à consideração da possibilidade estratégica da inovação do design poder ser considerada através da gestão da criatividade implicada na prática do desenho (diagrama2). Consideramos o estudo e reflexão do desenho cujo fim será a compreensão e implicação no processo criativo do objecto. Neste sentido, o desenh...
Partindo de uma aprendizagem em desenho onde este é encarado como um contentor de marcas deixadas... more Partindo de uma aprendizagem em desenho onde este é encarado como um contentor de marcas deixadas num rasto de acção. Lido como prótese ou incitamento à memória, num jogo de visibilidades e invisibilidades, onde o mimetismo do traço se torna inviável. O desenho como registo tradutor e conversor do gesto de um corpo no espaço. Um processo desenhado que põe em evidência um acontecimento passado, que aconteceu e já lá não está, o que dele temos acesso enquanto vestígios desse acontecimento, estas são as marcas deixadas por um corpo num rasto de acção. Resgatamos essa poesis de vestígio (de algo que brevemente desaparecerá), da memória que o desenho (como no mito de Butades) representa para, na óptica do design, assumir uma reflexão como elemento simbolicamente capaz de protagonizar o incitamento especulativo de acontecimentos da vida sócio política circundante. Pretendemos contribuir com uma reflexão teórica em design, pensada como concepção de desconstrução e transformação social. Int...
Do ponto de vista heurístico, o desenho recria modos de ver que são dinamizadores do projeto. O d... more Do ponto de vista heurístico, o desenho recria modos de ver que são dinamizadores do projeto. O desenho, como sustentação e impulsionador da ideia, vai ao longo do projeto contribuindo para o seu desenvolvimento e conformação de forma independente e esclarecedora. Neste caso, trataremos, genericamente, da visibilidade das imagens e, em particular, os cadernos do desenhador e designer Francisco Providência (1961 - ), debruçando-nos sobre as questões do desenho enquanto imagem e instrumento do projeto. Assunto antigo, tanto quanto a palavra disegno como referência fundadora da prática de desenhar como atividade do corpo e do espírito. Neste caso, a nossa reflexão parte da observação e manipulação dos cadernos do autor, cuja ideia de representação extravasa a consideração funcional das imagens de projeto, considerando-as matéria visiva por excelência, propensa à manipulação criativa.
Discutimos a criação de um arquivo digital de desenhos de projecto – design e arquitectura – de a... more Discutimos a criação de um arquivo digital de desenhos de projecto – design e arquitectura – de autores portugueses. Destinado ao rápido desaparecimento, os desenhos de projecto são pelo seu carácter transitório um material efémero que se esgotará no processo projectual, ainda que contribuam para a sua definição e, consequentemente, para a cultura patrimonial e identitária de um território. O referido arquivo (em implementação na UA) apoia a investigação segundo diferentes contextos: 1. Patrimonial – perpetuando e reavaliando os desenhos enquanto objectos autónomos; 2. Epistemológico – reflectindo acerca do objecto projectado e 3. Cultural: contribuindo para o estudo e divulgação da cultura projectual portuguesa. Este artigo procura integrar a análise ontológica do desenho através da interpretação do estudo de caso do recente Museu do Dinheiro do Banco de Portugal, projectado pelo designer Francisco Providência. A escolha interpreta a representatividade do desenho, na obra do autor,...
Drawing, in the context of contemporary art, as-sumes forms that seem to challenge the very notio... more Drawing, in the context of contemporary art, as-sumes forms that seem to challenge the very notion of itself. In this article, as a first approach, is done a brief demonstration of the state of the art; as a second ap-proach, it is analyzed as the graphic record of themes based on the actions of everyday life accompanies the drawing - extending also to the ubiquity of its formaliza-tion. This range of formalizations goes from the tradi-tional use of materials to the tridimensional form - passing by the performativity field ways (the gesture of drawing). However, the focus is placed on the process at the expense of the artifact
This article intends to cross the vast and fascinating panorama of the graphic notation. The evol... more This article intends to cross the vast and fascinating panorama of the graphic notation. The evolution of electronic music requires a new system of notation where, among other things, we seek to understand the new phenomena, such as the relationship between sonority and plastic manipulation in performance; the unpredictability and the error as ways of generating non-linear readings and/or new graphical forms of notation. In this article we intend to discuss the possibility of experiences’ systematization and concepts of ephemeral time, as well as freedom in the improvisation methodology and in real time composition, which has revolutionized the traditional system of musical graphic register. Usually, graphic notation as a musical representation aims to be interpreted by the musician/performer, whose reading can be linear or non-linear, even when is a result of concrete composition techniques. Otherwise, graphical notation arises as a result of the fusion between sound and graphic ma...
Resumo. Com o presente artigo pretende-se mostrar a expressão da linha como elemento da linguagem... more Resumo. Com o presente artigo pretende-se mostrar a expressão da linha como elemento da linguagem do desenho e, simultaneamente, perceber a relação que a linha estabelece com o espaço. Toma-se como referência a obra do artista Lewitt enquanto marco de origem concetual do desenho na relação que ele estabelece com o espaço. Consideraremos as obras dos artistas Sandback, Gego, Derdyk e Grzymala, cujo trabalho usa o espaço como suporte do desenho e, a partir daí, procuraremos perceber que relações se estabelecem entre o espaço-que corporiza a obra-e o espectador. Com base neste pressuposto procuramos interpretar a obra como instalação ou site-specific, resultado da integração do desenho num determinado espaço. Para tal, abordaremos metodologicamente três momentos: 1. a contextualização, 2. a clarificação do conceito, 3. a experiência do artista e 4. o envolvimento e participação do espectador na obra. Procuraremos concluir acerca da presença instigadora do desenho quanto à participação do espectador na obra. Abstract. The present article pretends to demonstrate the line's expression as an element of the drawing's language and understand, at the same time, the relation that the line establishes with the space. The work of the artist Lewitt is taken as reference while being the conceptual origin mark of the drawing in the relation it establishes with the space. The works of the artists Sandback, Gego, Derdyk and Grzymala shall be considered as the starting point, whose work refers to the spatiality as means of the drawing, and from there, we shall try to understand the relations established between the space-that embodies the work-and the spectator. On this basis we try to interpret the work as an installation or site-specific as result of the drawing's integration in a certain space. In this way we shall methodologically approach three moments: 1. the contextualization, 2. the concept's clarification, 3. the artist's experience and 4. the involvement and participation of the spectator regarding the installation. We will reach the conclusion about the drawing's instigating presence in relation to the spectator's participation in the work.
In this paper, the object’s evocation and experience is considered by examining drawing as projec... more In this paper, the object’s evocation and experience is considered by examining drawing as project’s disciplinarian function. We depart from the argument that drawing is the visual language that imagines, examines and makes the project’s materiality visible. Drawing as function to materialize the project, in the condition of existing towards... is, in this case, mediator for representation (technical expression), the act of classification that discriminates and influences the project (program) and interpretative mark of imagination (authorship). The theme we intend to develop considers drawing as a set of images that as a language configures projectual reality. We will address the issue of knowledge through drawing by means of its practice in the project. In this case, drawing is an instrument that carries and interprets a particular cultural expression, transferring it onto the project causing it to acquire a specific symbolic register. We depart from the hypothesis that drawing practices in the scope of design project differentiate the projectual result, conferring the object its singular identity. We seek to justify the hypothesis through the importance of drawing as visual language deriving from the artistic field, within the contingent Western interpretation. That is, awarding drawing the ability to be the project’s critical interpreter. Our interpretation context addresses the practice of Portuguese designers whose work is institutionally recognized in Portugal and abroad. The analyzed material - drawings - results from the ongoing doctoral research on the proximity and influence of drawing on Design Project practice. The purpose is to verify the terms of use of drawing through authorship, aiming at contributing towards design knowledge through three vectors: 1. the imagetic and authorship approach, 2. technology and classification approach, 3. representative and programmatic approach. To conclude, we propose drawing as language for multiple perceptions, possibly fragmented, fissured, disjointed, and possibly trans-figured into project’s metalanguage. Keywords: Drawing, Design, Project, Representation
The aim of the abstract is to debate whether the categories of symbol and symptom imply different... more The aim of the abstract is to debate whether the categories of symbol and symptom imply different determinations when it comes to art. We shall also look into clarifying the difference between the perception of the artistic symbol (through artistic images) and the work of art that manifests itself visually through the symptom and try to reach a conclusion, based on these two perspectives, about the characteristics of the art terrain, within the triangular framework author-work of art-spectator Viewing the symbol from its Greek derivation (symbolon) and the renascence, as a means of interpretation associated to the artistic (as one of the parts of the division, the symbol maintains the receptor out of the work of art) and the symptom as a reference to the work of art – art as a manifestation of the symptom emphasises the process bringing the receptor into the work of art. Can we consider the artistic as a domain of the images (symbolic) and the art as a domain of the objects (symptom)? The symbol as a’ divine’ entity that implies the pure form, the symbol interpreted in light of its linguistic Greek origin as one of the parts of the split object, stimulating interpretation, the symbol as an autonomy identity whose result is simulacrum [Volli in Melotti, p.73-87], or the symbol as an operative moment [Boidi in Melotti, p.102], it will always implicate an entity in the artistic image, whereas in the work of art remains the implication of the symptom that manifests the action that gives rise to art itself? At its limit the images of art become hyperbolic « symbolising» the symptom. Renouncing to the possibility of being simulacrum or phantasmagoria, they symbolise each thing and their contrary, introducing the “presence in the representation” [Didi-Huberman, 1990, p195]. Within this limit the images do not satisfy or symbolise , as objects of desire, but as a need to liberate which edges the non-representation of the manifestation of the symptom of art, and in this aspect the symbol is integrated by the symptom. Let us taking into consideration the triad figure IRS, real-imaginary-symbolic [Žižek, 2004, p98]. Symbolic real imaginary Imaginary Real symbolic Nucleus of the non-representation From the vertices of the triangle, real-imaginary-symbolic we can establish an infinite network as the constellation space of movement of the individual, thus forming successive triangles (infinitively) that personify in themselves the different territories of what is real, symbolic or imaginary. Each of these territories is subject to the domain of the different images. These domains, however, are not fixed; on the contrary they exist as if limited by porous membrane. The nucleus of this corresponds to the non-representation, banning the image. In this nucleus the existence of images would prove to be self-destructive. The images of art manifest themselves as symptoms of the work of art itself, as loose ends of the system of art; the are presented by the gaps- in the aesthetic domain, where the symbolic manifests itself as being insufficient. In this abstract we intended to demonstrate that the objects of art distance themselves from the artistic images via the symptom as an inclusive possibility of a demonstration of art. The objects of art renouncing the external symbolic interpretation include the viewer as a constituent of the work of art, placing emphasis the procedural unity. As a limit the symbol becomes part of the symptom in art, becoming the referent that recuperates the gaps of the artistic past2. By emphasising the process, the object of art (the symptom) reveals itself as the designator of the unity and thus contradicting the artistic images that represent symbolically what is still disassociated. Nevertheless, the objects of art which are still subject to the domain of representation3 can only gain a unity that is revealed in its disconnection from desire, thus allowing the artistic image to be interpreted in the object of art. In the full text version there will examples taken from the history of art to illustrate these arguments.
Starting from drawing faced as a mark container left in a track of action. Seeing drawing as pros... more Starting from drawing faced as a mark container left in a track of action. Seeing drawing as prosthesis or memory urging in a game of visibility and invisibility where the mimesis of drawing feature becomes impracticable. Drawing as a translator and a converter of a body’s gesture in space. A drawing process that highlights a past event, something that happened and it is there no more, something that is now only just a trace of that past event – these are the marks printed by a body on a track of action. The poesis of mnematic-trace was recovered (that of something that soon will disappear), the memory that drawing represents (as in Butades myth) to assume by a design point of view a reflection as a symbolic element able to rise speculative urging of surrounding sociopolitical life events. We propose a contribution by a theoretical reflection about design as a conceptual deconstruction and social transformation. We see design as a discursive tool, whose objects will always be seen a...
Propomos colocar a questão da possibilidade criativa e inovação do projecto em design através do ... more Propomos colocar a questão da possibilidade criativa e inovação do projecto em design através do exercício prático do desenho. Partiremos da ideia de que o desenho é não apenas o veículo instrumental de representação do projecto mas, e sobretudo uma possibilidade de pensamento como repositório de experiências. Exercício de conhecimento e auto-reconhecimento do sujeito e do mundo ao qual pertence. Partiremos da interpretação dos conceitos de inovação e criatividade como factores diferenciados, propostos separadamente para o acto projectual do design e o processo artístico (diagrama1). Para através da consideração dos exemplos de desenhos de projecto de designers portugueses chegar à consideração da possibilidade estratégica da inovação do design poder ser considerada através da gestão da criatividade implicada na prática do desenho (diagrama2). Consideramos o estudo e reflexão do desenho cujo fim será a compreensão e implicação no processo criativo do objecto. Neste sentido, o desenh...
Partindo de uma aprendizagem em desenho onde este é encarado como um contentor de marcas deixadas... more Partindo de uma aprendizagem em desenho onde este é encarado como um contentor de marcas deixadas num rasto de acção. Lido como prótese ou incitamento à memória, num jogo de visibilidades e invisibilidades, onde o mimetismo do traço se torna inviável. O desenho como registo tradutor e conversor do gesto de um corpo no espaço. Um processo desenhado que põe em evidência um acontecimento passado, que aconteceu e já lá não está, o que dele temos acesso enquanto vestígios desse acontecimento, estas são as marcas deixadas por um corpo num rasto de acção. Resgatamos essa poesis de vestígio (de algo que brevemente desaparecerá), da memória que o desenho (como no mito de Butades) representa para, na óptica do design, assumir uma reflexão como elemento simbolicamente capaz de protagonizar o incitamento especulativo de acontecimentos da vida sócio política circundante. Pretendemos contribuir com uma reflexão teórica em design, pensada como concepção de desconstrução e transformação social. Int...
Do ponto de vista heurístico, o desenho recria modos de ver que são dinamizadores do projeto. O d... more Do ponto de vista heurístico, o desenho recria modos de ver que são dinamizadores do projeto. O desenho, como sustentação e impulsionador da ideia, vai ao longo do projeto contribuindo para o seu desenvolvimento e conformação de forma independente e esclarecedora. Neste caso, trataremos, genericamente, da visibilidade das imagens e, em particular, os cadernos do desenhador e designer Francisco Providência (1961 - ), debruçando-nos sobre as questões do desenho enquanto imagem e instrumento do projeto. Assunto antigo, tanto quanto a palavra disegno como referência fundadora da prática de desenhar como atividade do corpo e do espírito. Neste caso, a nossa reflexão parte da observação e manipulação dos cadernos do autor, cuja ideia de representação extravasa a consideração funcional das imagens de projeto, considerando-as matéria visiva por excelência, propensa à manipulação criativa.
Discutimos a criação de um arquivo digital de desenhos de projecto – design e arquitectura – de a... more Discutimos a criação de um arquivo digital de desenhos de projecto – design e arquitectura – de autores portugueses. Destinado ao rápido desaparecimento, os desenhos de projecto são pelo seu carácter transitório um material efémero que se esgotará no processo projectual, ainda que contribuam para a sua definição e, consequentemente, para a cultura patrimonial e identitária de um território. O referido arquivo (em implementação na UA) apoia a investigação segundo diferentes contextos: 1. Patrimonial – perpetuando e reavaliando os desenhos enquanto objectos autónomos; 2. Epistemológico – reflectindo acerca do objecto projectado e 3. Cultural: contribuindo para o estudo e divulgação da cultura projectual portuguesa. Este artigo procura integrar a análise ontológica do desenho através da interpretação do estudo de caso do recente Museu do Dinheiro do Banco de Portugal, projectado pelo designer Francisco Providência. A escolha interpreta a representatividade do desenho, na obra do autor,...
Drawing, in the context of contemporary art, as-sumes forms that seem to challenge the very notio... more Drawing, in the context of contemporary art, as-sumes forms that seem to challenge the very notion of itself. In this article, as a first approach, is done a brief demonstration of the state of the art; as a second ap-proach, it is analyzed as the graphic record of themes based on the actions of everyday life accompanies the drawing - extending also to the ubiquity of its formaliza-tion. This range of formalizations goes from the tradi-tional use of materials to the tridimensional form - passing by the performativity field ways (the gesture of drawing). However, the focus is placed on the process at the expense of the artifact
This article intends to cross the vast and fascinating panorama of the graphic notation. The evol... more This article intends to cross the vast and fascinating panorama of the graphic notation. The evolution of electronic music requires a new system of notation where, among other things, we seek to understand the new phenomena, such as the relationship between sonority and plastic manipulation in performance; the unpredictability and the error as ways of generating non-linear readings and/or new graphical forms of notation. In this article we intend to discuss the possibility of experiences’ systematization and concepts of ephemeral time, as well as freedom in the improvisation methodology and in real time composition, which has revolutionized the traditional system of musical graphic register. Usually, graphic notation as a musical representation aims to be interpreted by the musician/performer, whose reading can be linear or non-linear, even when is a result of concrete composition techniques. Otherwise, graphical notation arises as a result of the fusion between sound and graphic ma...
Resumo. Com o presente artigo pretende-se mostrar a expressão da linha como elemento da linguagem... more Resumo. Com o presente artigo pretende-se mostrar a expressão da linha como elemento da linguagem do desenho e, simultaneamente, perceber a relação que a linha estabelece com o espaço. Toma-se como referência a obra do artista Lewitt enquanto marco de origem concetual do desenho na relação que ele estabelece com o espaço. Consideraremos as obras dos artistas Sandback, Gego, Derdyk e Grzymala, cujo trabalho usa o espaço como suporte do desenho e, a partir daí, procuraremos perceber que relações se estabelecem entre o espaço-que corporiza a obra-e o espectador. Com base neste pressuposto procuramos interpretar a obra como instalação ou site-specific, resultado da integração do desenho num determinado espaço. Para tal, abordaremos metodologicamente três momentos: 1. a contextualização, 2. a clarificação do conceito, 3. a experiência do artista e 4. o envolvimento e participação do espectador na obra. Procuraremos concluir acerca da presença instigadora do desenho quanto à participação do espectador na obra. Abstract. The present article pretends to demonstrate the line's expression as an element of the drawing's language and understand, at the same time, the relation that the line establishes with the space. The work of the artist Lewitt is taken as reference while being the conceptual origin mark of the drawing in the relation it establishes with the space. The works of the artists Sandback, Gego, Derdyk and Grzymala shall be considered as the starting point, whose work refers to the spatiality as means of the drawing, and from there, we shall try to understand the relations established between the space-that embodies the work-and the spectator. On this basis we try to interpret the work as an installation or site-specific as result of the drawing's integration in a certain space. In this way we shall methodologically approach three moments: 1. the contextualization, 2. the concept's clarification, 3. the artist's experience and 4. the involvement and participation of the spectator regarding the installation. We will reach the conclusion about the drawing's instigating presence in relation to the spectator's participation in the work.
In this paper, the object’s evocation and experience is considered by examining drawing as projec... more In this paper, the object’s evocation and experience is considered by examining drawing as project’s disciplinarian function. We depart from the argument that drawing is the visual language that imagines, examines and makes the project’s materiality visible. Drawing as function to materialize the project, in the condition of existing towards... is, in this case, mediator for representation (technical expression), the act of classification that discriminates and influences the project (program) and interpretative mark of imagination (authorship). The theme we intend to develop considers drawing as a set of images that as a language configures projectual reality. We will address the issue of knowledge through drawing by means of its practice in the project. In this case, drawing is an instrument that carries and interprets a particular cultural expression, transferring it onto the project causing it to acquire a specific symbolic register. We depart from the hypothesis that drawing practices in the scope of design project differentiate the projectual result, conferring the object its singular identity. We seek to justify the hypothesis through the importance of drawing as visual language deriving from the artistic field, within the contingent Western interpretation. That is, awarding drawing the ability to be the project’s critical interpreter. Our interpretation context addresses the practice of Portuguese designers whose work is institutionally recognized in Portugal and abroad. The analyzed material - drawings - results from the ongoing doctoral research on the proximity and influence of drawing on Design Project practice. The purpose is to verify the terms of use of drawing through authorship, aiming at contributing towards design knowledge through three vectors: 1. the imagetic and authorship approach, 2. technology and classification approach, 3. representative and programmatic approach. To conclude, we propose drawing as language for multiple perceptions, possibly fragmented, fissured, disjointed, and possibly trans-figured into project’s metalanguage. Keywords: Drawing, Design, Project, Representation
The aim of the abstract is to debate whether the categories of symbol and symptom imply different... more The aim of the abstract is to debate whether the categories of symbol and symptom imply different determinations when it comes to art. We shall also look into clarifying the difference between the perception of the artistic symbol (through artistic images) and the work of art that manifests itself visually through the symptom and try to reach a conclusion, based on these two perspectives, about the characteristics of the art terrain, within the triangular framework author-work of art-spectator Viewing the symbol from its Greek derivation (symbolon) and the renascence, as a means of interpretation associated to the artistic (as one of the parts of the division, the symbol maintains the receptor out of the work of art) and the symptom as a reference to the work of art – art as a manifestation of the symptom emphasises the process bringing the receptor into the work of art. Can we consider the artistic as a domain of the images (symbolic) and the art as a domain of the objects (symptom)? The symbol as a’ divine’ entity that implies the pure form, the symbol interpreted in light of its linguistic Greek origin as one of the parts of the split object, stimulating interpretation, the symbol as an autonomy identity whose result is simulacrum [Volli in Melotti, p.73-87], or the symbol as an operative moment [Boidi in Melotti, p.102], it will always implicate an entity in the artistic image, whereas in the work of art remains the implication of the symptom that manifests the action that gives rise to art itself? At its limit the images of art become hyperbolic « symbolising» the symptom. Renouncing to the possibility of being simulacrum or phantasmagoria, they symbolise each thing and their contrary, introducing the “presence in the representation” [Didi-Huberman, 1990, p195]. Within this limit the images do not satisfy or symbolise , as objects of desire, but as a need to liberate which edges the non-representation of the manifestation of the symptom of art, and in this aspect the symbol is integrated by the symptom. Let us taking into consideration the triad figure IRS, real-imaginary-symbolic [Žižek, 2004, p98]. Symbolic real imaginary Imaginary Real symbolic Nucleus of the non-representation From the vertices of the triangle, real-imaginary-symbolic we can establish an infinite network as the constellation space of movement of the individual, thus forming successive triangles (infinitively) that personify in themselves the different territories of what is real, symbolic or imaginary. Each of these territories is subject to the domain of the different images. These domains, however, are not fixed; on the contrary they exist as if limited by porous membrane. The nucleus of this corresponds to the non-representation, banning the image. In this nucleus the existence of images would prove to be self-destructive. The images of art manifest themselves as symptoms of the work of art itself, as loose ends of the system of art; the are presented by the gaps- in the aesthetic domain, where the symbolic manifests itself as being insufficient. In this abstract we intended to demonstrate that the objects of art distance themselves from the artistic images via the symptom as an inclusive possibility of a demonstration of art. The objects of art renouncing the external symbolic interpretation include the viewer as a constituent of the work of art, placing emphasis the procedural unity. As a limit the symbol becomes part of the symptom in art, becoming the referent that recuperates the gaps of the artistic past2. By emphasising the process, the object of art (the symptom) reveals itself as the designator of the unity and thus contradicting the artistic images that represent symbolically what is still disassociated. Nevertheless, the objects of art which are still subject to the domain of representation3 can only gain a unity that is revealed in its disconnection from desire, thus allowing the artistic image to be interpreted in the object of art. In the full text version there will examples taken from the history of art to illustrate these arguments.
CONFIA is the International Conference on Illustration and Animation at the Polytechnic Institute... more CONFIA is the International Conference on Illustration and Animation at the Polytechnic Institute of Cavado and Ave, organized by School of Design under the auspices of the Masters in Illustration and Animation.This is CONFIA's fourth conference after previous editions in Ofir, Porto and Braga.
It is intended to be a pivotal moment in the contemporary discussion of these areas, which have a long tradition and, at the same time, are pioneers in technological innovation. We intend to broadly explore the multidisciplinary space that includes illustration and the animated image, from the construction of the narrative to character development, from art theory to critical reflection on the objects that populate the market and the industry.
Os projetos desenvolvidos dentro do Mestrado em Criação Artística Contemporânea (M.CAC) articulam... more Os projetos desenvolvidos dentro do Mestrado em Criação Artística Contemporânea (M.CAC) articulam a experimentação artística em variados formatos e meios, traduzindo uma visão transdisciplinar na concepção de projetos artísticos contemporâneos. Isso é o resultado da conciliação entre recursos técnicos e expressões artísticas diferenciadas, no âmbito de uma formação académica que questiona o significado da criação artística na contemporaneidade, estimulando a reflexão crítica, individual e coletiva, acerca dos processos técnicos, sociais e culturais em arte.
Ao procurar ativamente o desenvolvimento do pensamento e consciência crítica na conceção e debate de projetos artísticos implicados no desenvolvimento sustentável da sociedade, este mestrado revela um posicionamento transdisciplinar que facilita a promoção de uma estreita interação com a comunidade envolvente, particularmente com a cidade de Aveiro, onde a Universidade de Aveiro e o M.CAC estão implantados.
We aim to discuss that which generally refers to the contribution of drawing in the understanding... more We aim to discuss that which generally refers to the contribution of drawing in the understanding of the design project, and particularly in relation to architecture. From a heuristic perspective, it is accepted that drawing recreates 'ways of seeing' which facilitate the project. Throughout the project, drawing contributes in supporting and stimulating the idea's development in accordance with the stratified process of design. We present a case study of the project drawings by considering the work of the architect Bernardo Rodrigues (Ponta Delgada, Azores, Portugal, 1972). He got a degree in Architecture from FAUP, Oporto University, 1996. Their architectural projects are spread across USA, China, Japan, Dubai, and of course Portugal. His work, focused on sensory perception and matter, has been the subject of national and internationally thoughts. According to Bernardo Rodrigues architecture discipline must returns closely back to nature, therefore, supports the idea of sustainability through ethics projected in architectural shape through the material building and its environment. "The twenty-first century should be the return to the classic and timeless categories of social planning and then urban", the architect said. The experimental nature of the projects leads to its fair recognition that is according to the original essence of architecture while thought about the human being on earth. The Bernardo Rodrigues work stands out through sustainability using materials that replying the energy yield but also to poetic dwelling the world. Thus, drawing is more than the heuristic representation of the project of architecture. The character of representation is contaminated by all that is marginal to design project is disseminated through it ethically and materially, joining opposites and differences through a poetic desire expressed on the drawing. The architectural images of Bernardo Rodrigues design results from a multiple methodological contemporary process which derives an architecture freed from traditional instrumental constraints and thus becomes an object that questions whether the world and their representations. Thus, the subject of representation goes beyond the functional consideration of the design, because the different instrumental drawings influences the perception of the subject and the author. The analysis seeks to contribute to a critical and multidisciplinary discussion between drawing and architecture through the drawing practice and designing in order to stimulate the interdisciplinary understanding in generating ideas and solutions that the architectural design should provide.
Uploads
Papers by Graca Magalhaes
It is intended to be a pivotal moment in the contemporary discussion of these areas, which have a long tradition and, at the same time, are pioneers in technological innovation. We intend to broadly explore the multidisciplinary space that includes illustration and the animated image, from the construction of the narrative to character development, from art theory to critical reflection on the objects that populate the market and the industry.
Ao procurar ativamente o desenvolvimento do pensamento e consciência crítica na conceção e debate de projetos artísticos implicados no desenvolvimento sustentável da sociedade, este mestrado revela um posicionamento transdisciplinar que facilita a promoção de uma estreita interação com a comunidade envolvente, particularmente com a cidade de Aveiro, onde a Universidade de Aveiro e o M.CAC estão implantados.