Vilem Flusser

Ao escrever de modo genérico sobre a produção de arte, um dos principais objetivos de Vilém Flusser é investir contra uma obstinada divisão da cultura em “duas culturas”. De acordo com o autor, a separação artificial entre ciência e artes ou humanidades deveria ser abandonada no interesse de uma abordagem mais abrangente da criatividade, da produção de ideias, experiências e conhecimentos. A divisão entre arte e ciência tornou-se assaz radicada na cultura ocidental, porque se conecta com uma das metas centrais da modernidade, a saber, a de alcançar o conhecimento objetivo. Naturalmente, a ciência é o que chegou mais perto desse ideal de objetividade, de modo que a filosofia, a religião, a política e a arte foram descredenciadas enquanto formas de conhecimento por serem pouco objetivas. Na medida em que a ciência transformou-se em objetividade, à estética restou o espaço da subjetividade, da expressão de emoções. Flusser defende que objetividade e subjetividade são abstrações em relação ao conhecimento concreto, que é sempre intersubjetivo. Desse modo, sob o signo da política e da intersubjetividade, a cultura ocidental poderia solucionar o clima de absurdo e de falta de sentido para a vida. Na restauração da ciência informada pela arte e da arte informada pela ciência, ambas reconectadas com a vida cotidiana, pode encontrar-se a chave para a superação da tecnocracia.

Face and facial pattern detection is an active research area that is useful for many practical applications. In this paper, we present an innovative technique for eye detection using Augmented Dynamic Time Warping (ADTW) algorithm. Dynamic Time Warping (DTW) is a reliable algorithm that can perform similarity matching between two sequences but it requires supplimnetry techniques to be effective and efficient when used as a pattern detection tool. Therefore, for template matching in a facial pattern detection, the DTW is augmented with proposed image processing strategy along with a proper weighting scheme to increase its efficiency and accuracy. Our proposed ADTW overcomes some of the shortcomings associated with the traditional dynamic time warping and hence improves the alignment of the warping path of the sequences. The results of the implementation of the ADTW to detect eyes in facial images of subject with and without glasses show a marked improvement in detection accuracy when compared with that of the traditional DTW. © 2012 ICIC International.

www.ijicic.org/10-08069-1.pdf

Resumo

O artigo parte da ontologia pluralista flusseriana para apontar as origens de sua filosofia do desenraizamento, a qual está pautada na compreensão acerca da contingência das coisas. A partir da dualidade criação-repetição, que organiza sua filosofia da linguagem, Flusser mostra que tudo que existe o faz enquanto criação humana, pois provém dela os universos de significado com os quais o homem se relaciona, e não das coisas mesmas. Logo, o desenraizamento se configura como o próprio estar no mundo do ser humano.

Palavras-chave: criação, pluralismo, língua

Abstract:

This article starts from Flusser's pluralistic ontology to point out the origins of his philosophy of groundlessness (Bodenlosigkeit), which is based in the understanding of the contingency of things. From the duality creation-repetition, which organizes his philosophy of language, Flusser shows that everything that exists does so as a human creation, because comes from that the universes of meaning with which man relates, and not from the things themselves. Therefore, groundlessness configures itself as the being in the world of humans.
Keywords: creation, pluralism, language

This paper engages the Analects from multiple perspectives. The Deleuzean read reveals its function as a cogwheel in the feudal social machine serving the purpose of overcoding. The Flusserian read brings into relief a meta-program that works to perpetuate the feudal social order, and a functionalism that has been revived in the post-historical era. From an interological perspective, Confucian ritual formalizes and normalizes interality. In terms of rhetorical and performance studies, the Analects has the gentleman as its second persona, inculcates a role aesthetics, and models a sense of decorum. From a Daoist viewpoint, the Analects contains an autobiography that documents Confucius's personal development as a spiritual adventurer and his becoming-Daoist later in life. From a Chan perspective, Confucius was a virtuosic performer of upaya, and the Analects feels like a precursor of the mondo or question-and-answer books that flourished in the Chan community in later historical periods. Moreover, a Chan-minded heterodox hermeneutics regarding the Analects has taken shape over time. The paper ends by pointing to Ouyi's Chan-spirited reinterpretation of the Analects as an exciting project to take on. Although the Buddha expounded the Dharma in a single voice, each of all living beings attained understanding according to its kind.-JIANG Qian 江 谦 (translated by Richard John Lynn) A Taoist hat, Confucian shoes, and a Buddhist robe combine the three houses into one. (Hori, 2003, p. 555) Three men gathered around a vat of vinegar. Each dipped a digit in and then touched it to his tongue. To Confucius, the taste was sour; to Gautama Buddha, the taste was bitter; to Laozi, the taste was sweet. All three different; all three one. This exploration approaches the Analects of Confucius with a nomadic sensibility. "Nomadic" invokes multiple strands of philosophical currents, including the treatise on nomadology developed by Gilles Deleuze and Félix Guattari in A Thousand Plateaus, the species of nomad thought Deleuze perceives in Friedrich Nietzsche, the kind of nomadism Vilém Flusser associates with post-history in The Freedom of the Migrant, the emerging philosophical paradigm that has coalesced around the term "interology," and Daoism and Chan Buddhism, which have had a long history of co-evolution, rivalry, complementarity,

Práca pojednáva o fenoméne technického obrazu a jeho vzťahu k umeleckej grafike v stredoeurópskom priestore. Skúma fenomény súvisiace s novými formami grafiky, prípadne s modifikáciou tradičných grafických techník v súvislosti so vstupom digitálneho obrazu na pole umeleckej grafiky. Mapuje časť rôznorodého spektra súčasnej grafiky so zameraním na diela a autorov, ktorí pri procese vzniku obrazu využívajú digitálne technológie. Výskum sa ďalej zameriava na dôsledky prenikania technického obrazu do umeleckej grafiky, ktoré sa postupne objavujú v diskusiách o grafike v umeleckých kruhoch, či na prehliadkach súčasnej grafiky. Reflektuje širšie umelecko-historické kontexty tohto fenoménu s ohľadom na vývoj fotografie a nových médií.

For this study, we propose to analyze the film Modern Times, by Charles Chaplin, from the identification and insertion of its sound elements, and the impact of these choices on the film narrative. In it, word, music, noise and silence are at the service of emotion, solemnity, comedy, norm and its transgression. The Little Tramp and his inadequacy to the world: we wonder if this encounter between the modernity, chaotic and hostile, and the existence of the protagonist produces what François Jullien calls " dis-coincidence" (dé-coïncidence). The philosopher claims that dis-coincidence to be a historical issue inherent in artistic creation. In the midst talkie's era, Chaplin refuses to use the word for dialogue and narration. However, he makes a sound film. This could be an action of the director interpreted in the light of dis-coincidence? The spoken word exists in rare and occasional moments, in the creation of a modality of 'monologue' – that is intermediated by modern technologies – and also as sung word. The philosopher Vilém Flusser defends the " gesture of speaking " (le geste de parler) as "one of the manifestations of human dignity". This leads us to ask how far this gesture takes place in Chaplin's aesthetic choice, and whether it could be recognized as a dis-coincidence. We will adopt Rick Altman's methodological approach to film sound treatment. Altman proposes the notion that the analysis of the sound track of a film should be made on the basis of the established relationship between the existing sounds.

O desígnio deste texto é propor uma reflexão sobre a arte a partir de algumas conexões entre Flusser, com ênfase no ensaio L’art: Le Beau et Le Joli, e alguns aspectos da interpretação heideggeriana de Nietzsche. Através dessa análise comparativa, serão propostas algumas analogias conceituais: entre valores e modelos, entre elevação e belo, entre conservação e agradável – o primeiro conceito de cada par encontra-se em Nietzsche (retomado sempre na interpretação heideggeriana) e o segundo em Flusser. Embora as diferenças entre os autores sejam significativas, pode-se apontar grande semelhança no papel ontológico atribuído à arte, como aquilo que está mais próximo do humano, do Indizível ou da Vontade de Poder.

Für eine Philosophy of Caixa Preta
Analyse textuelle critique des différentes versions du livre de Vilém Flusser "Pour une Philosophie de la Photographie" écrit par lui en allemand, en anglais et en portugais
et petite histoire de ses éditions et traductions dans 22 langues

Transcrição de palestra proferida em 19 de abril de 2016 no 'Pensando em Minas', programa da Assembleia Legislativa do Estado de Minas Gerais destinado à divulgação e ao debate de estudos e pesquisas sobre política e temas relacionados ao Poder Legislativo.

The aim of this study is to analyze the ways in which visualism developed through resonance, i.e. via Czech specifications that correlate with the German conception and the Polish analogue. The study characterizes visualistic theory and praxis in both aesthetic and art historical terms.

La tesi, partendo dalla presunta "sparizione della realtà" causata da una circolazione eccessiva delle sue stesse immagini, cerca di dare la risposta a una domanda: cosa fa realmente la fotografia?
Attraverso il lavoro di artisti (quali Ari Marcopoulos, Douglas Huebler e On Kawara) si cerca di cogliere l'essenza dell'atto fotografico in un periodo storico in cui ogni apparecchio può fotografare e ognuno è un potenziale fotografo. La ricerca inoltre trae molti spunti dal buddhismo, in particolare Zen, e al concetto di "presenza mentale", oltre che ai testi critici di Roland Barthes e Vilém Flusser, per citarne un paio.
La tesi si chiude con un progetto artistico realizzato appositamente come possibile risposta a quella domanda, e propone un approccio artistico incentrato sulla propria esistenza nella temporalità.

Vilém Flusser introduces a Kulturrevolution produced by computers and by the universe of technical images, leading to a re-conceptualization of society and identity, thus producing a complex theory of the media. According to Flusser, communication always depends on the media and upon each medium’s own logic and ways of transmitting information. By changing the structure of the media, information also changes, and at the same time, the reality we experience. Flusser describes this communicational revolution starting from the proliferation of images into multi-visual information. The collapse of texts and the hegemony of images, according to Flusser, led to a revolution of technical images, which no longer refer to an existing world, but to the concepts that we make. Technical images are born to rebuild guidance and a re-conquest of sense perception. The screen becomes the place, the skin in which the philosophy of feeling is currently developing. Through this new mirror-device (the screen), we have an aesthetic touch-screen that redefines our gestures. While McLuhan communicates, Flusser “envisions,” and Roy Ascott produces visions. Technologies and miniaturization invade the body inside and outside, thus bringing the digital world into the physical one, within and around us: ubiquitously. The new situation, beyond contemporary communication, is producing a new type of media: moist media. This advancing, post-digital mutations, imply a variable reality while our space-time dimension becomes an exciting constellation of Flusser's flows and movements.

The purpose is to clarify the concept of the new media in the media theory context, presented by the selected authors (Marshall McLuhan, Régis Debray, Vilém Flusser, Friedrich Kittler and Lev Manovich). The article provides an overview of the main positions concerning the understanding of the concept of media in its connection with technology, culture and communication processes in a broad (as a mediator) and a specialized (as communicational media) meaning. Article studies out the reasons to consider the new media as a particular mediasphere and to explore it as a specific subject of scientific interest. The article analyzes the key characteristics of the new media and its fundamental differences from previous types of media.
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Мета статті – прояснити зміст поняття "нові медіа" у контексті теорії медіа, що представлена обраними авторами (Маршалл Маклюен, Режі Дебре, Вілем Флюсер, Фрідріх Кітлер та Лев Манович). Запропоновано огляд основних позицій у розумінні поняття медіа в його зв'язку з технікою, культурою, комунікаційними процесами в широкому (як посередник) та спеціалізованому (як комунікативні медіа) сенсах. З'ясовано підстави розглядати нові медіа як окрему медіасферу і досліджувати їх як специфічний предмет наукового інтересу. Розглянуто основні характеристики нових медіа та їх принципові відмінності від попередніх видів медіа.
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Цель – прояснить содержание понятия "новые медиа" в контексте теории медиа, представленной выбранными авторами (Маршалл Маклюэн, Режи Дебрэ, Вилем Флюссер, Фридрих Киттлер и Лев Манович). В статье рассмотрены концепции, где медиа анализируются в их связи с техникой, культурой, коммуникационными процессами как в широком (посредник), так и специализированном (коммуникационные медиа) смыслах. Выяснены основания рассматривать новые медиа как отдельную медиасферу и исследовать как специфический предмет научного интереса. Рассмотрены основные характеристики новых медиа и их принципиальные отличия от предшествующих видов медиа.

The article examines two digital phenomena linked to money and finance, which are the bitcoin (in particular the blockchain technology it is founded on) and high-frequency trading, through the lens of Vilém Flusser's concept of technical image. Flusser's theory highlights three aspects of technical images: they are engendered by the act of organizing particles, are produced by people who operate devices through keys, and are mediated by code, which is linear and pertains to the era of written text, which Flusser conflates with the notion of history. In this article, the argument focuses on the aspects of high-frequency trading and the blockchain that relate to the idea of images. The sections investigate how money has historically operated in the logic of Flusser's description of symbol manipulation in relation to consciousness and temporality: from the circular time of magical consciousness to the linear time of historical consciousness, and more recently, to the non-dimensional time of post-historical consciousness. The article argues that there are two levels, or layers, in the images involved in cryptocurrencies or algorithmic trading, but only one of them is visible to the human operator or viewer, in the form of a price. The other, which indeed represents the operations in the system, is only accessible to the machines themselves. The questions raised concern the role of these recent digital financial and monetary forms in the development of a reality dominated by apparatuses and technical images.

This  paper  deals  with  the  ontogenesis  of  time  in  Lav  Diaz’s  post-Batang  West Side  cinema.  By  collaborating  with  the  ideas  of  Gilles  Deleuze,  Felix  Guattari,  Vilem Flusser  and  Jacques  Derrida,  the  paper  philosophically  grapples  with  the  nonphilosophy  of  Diaz’s  cinema.  The  text  proposes  a  transversal  constitution  of  time  by insisting that, in any event, whether cinematic, conceptual or natural, time is constituted
in  the  paradoxical  space  between  arborescence  (time-consciousness)  and  immanence (becoming). The paper also highlights on the complicity of representational politics with
the  politics  of  time  and  insists  on  the  deconstructive  non-structure  of  the  ‘authorfunction’  when  infolded  within  the  multiplanar  constitutions  of  time.  The  text  also actively resolves the contradiction between two concepts of ‘contemplation’ constituted by Thomas Elsaesser and Gilles Deleuze in their respective texts and proposes open time
-  a  singularity  between  time  and  Deleuzo-Guattarian  idea  of  the  rhizome  -  as  a conceptual alternative to contemplative time  inscribed by ‘slow cinema’ discourse. The concept of the  open image  (its components, its political and ethical dimensions)  is  also introduced in the text.

O livro parte das teorias e práticas em torno das imagens técnicas, tais como a fotografia, o cinema e o vídeo, para discutir a cultura visual e os regimes de imagem que surgem com a inserção as tecnologias digitais nos aparatos de produção de imagens, incluindo o vídeo interativo, a realidade virtual, a realidade aumentada e a arte cibernética.

“Este livro que o leitor tem em suas mãos representa o coroamento de uma série de discussões, polêmicas e produções que se estendem pelo menos desde os anos 1960, mas que ganhou um contorno mais definido a partir do final do século XX: trata-se de um balanço do que significou o surgimento das tecnologias digitais nos conceitos de cultura, arte, filosofia e modos de vida. O autor, Cesar Baio, atualiza as discussões anteriores colocadas por autores como Vilém Flusser, Edmond Couchot, Peter Weibel, Júlio Plaza, Lúcia Santaella e tantos outros que as formularam num período imediatamente anterior, sobre como tudo se transforma quando se passa para uma existência digital, não apenas nas imagens, sons e textos, mas também na condução do pensamento, dos novos comportamentos e modos de produção e consumo, da vida contemporânea, enfim. Ele analisa também uma seleção de novos criadores, nos mais diversos campos das artes, que souberam tirar proveito não apenas das novas tecnologias, mas também das novas formas de sociabilidade e de economia política que se formaram ao redor delas.”
Arlindo Machado

“Em Máquinas de imagem, Baio nos proporciona uma acurada leitura da condição contemporânea, atualizando as proposições desenvolvidas por Vilém Flusser sobre os aparelhos técnicos de mediação. Uma perspectiva teórica consistente, radicada na identificação das linhas de forças singularizantes dos fenômenos culturais contemporâneos, considerados a partir da leitura crítica das formulações conceituais predominantes até o início dos anos 1980, mas, igualmente decisivo, desde o ponto de vista da liberdade do artista e do participante implicados na aventura estética”
Antonio Fatorelli

De acordo com Flusser, a arte pode assimilar as técnicas avançadas próprias do período pós-histórico sem, todavia, subordinar-se à função dominadora que essas técnicas exercem economicamente, socialmente e politicamente. O cinema, a fotografia, a web art e a arte digital podem usar aparelhos sem, contudo, endossarem a “racionalidade instrumental” que normalmente os acompanha. Desse modo, a arte mostra alguns caminhos de liberação em relação ao discurso tecnológico no qual o homem é um “parafuso em aparelho projetado por outrem” (FLUSSER, 1971) e abre a possibilidade de visualizar uma nova situação, na qual o homem seria capaz de projetar o sentido de sua própria vida.

Characterizing cinematic representations of May 18 Democratization Movement in 1980 and extant studies of the former in terms of ‘melancholic repetition compulsion of mourning,’ this article pinpoints the special amnesty granted to Ex-President Chun Doo-hwan in 1997 as its obscene historical condition of possibility.

Made possible by the then President-elect-cum-the-symbolic-representative-of-victims Kim Dae-jung’s consent, this legal amnesty effectively results in the foreclosure of the traumatic massacre perpetrated in Gwangju, May 1980 within the field of legal battles, whereby nullifying the tenuous Freudian distinction between ‘mourning’ and ‘melancholia.’

This article argues that, doomed to repeat its failure, this ‘repetition compulsion of mourning’ forced the energy reserved for mourning work to ‘migrate’ from the field of ‘fact’ and ‘documentary’ to that of ‘fiction,’ more precisely by means of aphasic ‘contiguity disorder,’ which also accounts for why death among numerous films in the latter vein is rendered less ‘tragic’ than in travesty. By way of what Aby Warburg calls “migration of images” and ‘pathosformel,’ this paper critically reflects on how the desire for self-amputation betrayed by a series of figures connects to renouncing the ‘lure of the tragic,’ calling for a radical rethinking of the Void of ‘Chun’s (ir)reponsibility,’ long-overlooked by the static understanding and foregone analysis.

ion are also simultaneous and comparable with many cutting edge scientific quests that took place around the turn of the century. Physics, chemistry, experimental psychology, and other sciences were all similarly engaged in the deconstruction of the inanimate, biological and psychological realms into simple, further indivisible elements. Thus, it can be easily established that the gradual move toward abstraction in art echoes the same zeitgeist, argued Lev Manovich convincingly. Just as physicists, chemists, biologists and psychologists strived to break down reality to its basic constituents, so did the artists of the time. They too attempted to articulate the basic elements that constituted their field of inquiry Using motion as his means of investigation, Hans Richter challenged the cinematic experience by applying musical principles to it. Arguably it is the ‘music’ created by the transition of its elements that lends Rhythmus 21 its geometrical abstract quality. (Of course simil...

What is experimental photography? Experimental photographers do not abide by the standard rules of photography, they play against the photographic apparatus. Some photograph without a lens (pinhole) or without a camera (photograms). Others play with light, time, chemical development, or printing. And some erase the author-photographer, or use him differently in the process. Contemporary experimental photography is not a school, nor a movement, but simply a current, a moment between the decline of traditional documentary photography and the rise of digital photography.

Over 130 million images with the hashtag ‘selfie’ have been uploaded to the social media platform Instagram. In The Allure of the Selfie: Instagram and the New Self-Portrait, Brooke Wendt examines the significant hold that the ‘selfie’, or the digital self-portrait, has over self and society. Media theorist Vilém Flusser observed that society could become programmed to snap pictures for the sole benefit of cameras, as though under a ‘magical spell’, if photographs continued to be undecoded. Wendt examines this magical spell by analyzing users’ self-portraits on Instagram, one of the most popular contemporary platforms for image production.

Marshall McLuhan’s reframing of the Narcissus myth elucidates the allure of the selfie. McLuhan notes that Narcissus was numb to his mirror image and did not recognize his reflection as his own – he thought his image was that of another. As though unaware that we are looking at ourselves, we quickly become numb to our selfies, taking numerous pictures of ourselves without hesitation. It is the promise of pluripotentiality that fascinates us; however, we are also perpetually tempted and trapped by the notion of creating an ideal self with digital tools such as filter and hashtag functions. In the five essays comprising The Allure of the Selfie: Instagram and the New Self-Portrait, Brooke Wendt thus questions the changing nature of identity and the self-portrait in the age of Instagram.

Alors que la photographie expérimentale semble avoir été définie historiquement de manière étroite, soit par le catalogue des pratiques techniques d’expérimentation, soit en creux, comme un contraire de la photographie ‘normale’, cet essai s’efforce d’en formuler une définition ontologique. Il se base d’abord sur des notions d’aura et de hasard, puis s’inspire des théories du philosophe Vilém Flusser sur les images techniques et l’apparatus photographique, et de ses conclusions sur la liberté dont les photographes doivent faire preuve en subvertissant les programmes de cet apparatus, en ‘jouant contre leur appareils’. Notre définition de la photographie expérimentale (analogique) comme ‘un acte délibéré de refus critique des règles de l’apparatus de production photographique’ conduit à une définition tentative d’un courant expérimental contemporain, qui sera ensuite développée en analysant les différentes transgressions des paramètres du processus photographique pratiquées par les photographes contemporains. 
While experimental photography seems to have been historically defined only in a narrow sense – either as a catalog of technical experimentation practices, or negatively as the mere opposite of ‘standard’ photography –, this essay attempts to give an ontological definition of what experimental photography is. Initially based on the concepts of aura and chance, it is inspired by the theories of the philosopher Vilém Flusser on technical images and the photographic apparatus, and by his conclusions on the freedom that photographers must exert in subverting the programs of the apparatus, in “playing against the camera”. Our definition of (analog) experimental photography as  “a deliberate act of critical refusal of the rules of the photographic production apparatus” leads to a tentative characterization of the field of contemporary experimental photography, which will later be developed through an analysis of the transgressions of the photographic process parameters practiced by contemporary photographers.                            .""

Through a reading of Satyajit Ray's iconic 1964 film Charulata as a contemplation on the medium of cinema, this article re-visits the concept of "the cinema-effect" central to Ashish Rajadhyaksha's 2009 book 'Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency'.

This thesis critically compares dance notation systems and annotation practices, explaining why we might want to look more closely at their technological conditions and how we may do so by drawing from media theory. Accordingly, this thesis is concerned with the different methods of notation and annotation practices as well as with their effect on the ways we think about movement. Asking what the main differences are based on, it investigates the impact that technological conditions have on the representation of movement. Specifically, this thesis approaches dance notation and annotation practices as gestures–gestures that promptly shape modes of thinking. By addressing Vilém Flusser and Nicolas Salazar Sutil’s theories, this thesis proposes that notation systems be critically examined according to their medium specificity and, consequently, the material conditions of movement representation they provide. For the scope of this examina tion, this thesis develops a conceptualisation of the notating and annotating action as the gestures of notating and annotating.

By examining the gestures of notating and annotating this thesis firstly demonstrates how the technological mediation of movement, depending on its materialisation through alphabetic or post-alphabetic signs, affects movement representation. Then, it discusses how the technological conditions of the representation of movement affect movement interpretation processes and the understanding of the temporality of movement. To this end, the case studies employed in this thesis demonstrate the diverse structures and intentions of notation and annotation processes and provide the ground for an examination of different gestures and their modes of thinking. The examination of the gesture of notating is performed by addressing four traditional dance notation systems, namely: the Renaissance Tablature Letter Systems, the Beauchamp-Feuillet, the Stepanov, and Labanotation. Finally, the gesture of annotating is explored by analysing three case studies of annotation practices, namely, Mediathread, RAM, and Piecemaker.

Investigación que postula la similitud de la imagen fotográfica con la de la imagen pictórica. Citando a autores como Flusser, Barthes y Fontcuberta, se pretende mostrar una perspectiva complejizada de lo que es la imagen fotográfica, el aparato y el operador.

Según Klaus Krippendorff, diseñar artefactos es "dar sentido a las cosas para otros”. Con eso en mente examino varias concepciones: Ubuntu (sudafricano), Mitakuye oyasin (lakhota norteamericano), Sumak Kawsay (andino), diseño social (José Luis Ramírez) y diseño convivencial (Iván Illich) como caminos para diseñar cultura material e inmaterial con conocimiento emancipación que valide el derecho de cada quien a ser experto en su propia experiencia (diseñar con otros) sin privilegiar posturas de expertos que diseñan por y para otros. Llamo Diseño del Sur a la estrategia de imaginar desde los bordes (‘imarginar’) presentes deseables para beneficiar la heterogeneidad planetaria. La contracción 'del' vinculada a ‘sur’ remite a cuanto procede del sur (geográfico, cultural o epistemológico); y a la construcción del sur como lugar de lugares liberador para la multitud de muchos en cuanto muchos.

Palabras clave: Diseño del sur, ‘imarginación’, saberes sureños, convivencialidad, ‘profundice’.

According to Klaus Krippendorff, designing artifacts is “make sense of things for others”. From there I examine various conceptions: Ubuntu (South African), Mitakuye oyasin
(American lakota), Sumak Kawsay (Andean), social design (José Luis Ramírez) and convivial design (Ivan Illich) as ways to design material and intangible culture with knowledge as emancipation. I claim that each person can be expert on her/his own experience (design with others) without privileging professional experts whose design is by, and instead of,
others. I named Design of the South the path to imagining from the margins (‘imargining), desirable present times for all the global heterogeneity. The contraction ‘of’ linked to ‘South’ refers to what comes from south (geographical, cultural or epistemological) and to the building of South as a liberator place of places for the multitude of the many in their quality of many.

Keywords: Design of the south, ‘imargination’, Southern knowledges, conviviality, ‘depthsurface’.