• Body/Object/Space: Perceptions and Transductions
    Vol 3 No 1 (2018)

    In this issue of DATJournal - Design Art and Technology, we travel between the processes, attributes, and intensities of the body/object/space relationship, both in the theoretical contributions and in the artistic propositions that participate in the gallery of images that we include in the third part of this issue. We intend to make evident the hybrid condition of languages that extend the boundaries of the corporeal organism to technology, design, performance, cinema, fashion, and art.

    We start from the assumption that the body is a complex organism, of which brain and mind are partakers of different and inapprehensible mechanisms of symbiosis and that it is structurally coupled to its environment - filled by distinct spaces - in a conjuncture of mutual and continuous construction.

    The body, endowed with different forms of collaboration and transduction between similar organisms, transforms, adapts and abducts, but also purges old coupling strategies, making the evolutionary process infinite.

    All relational mechanisms occur through the sensitive, unconscious, subjective, and conscious aspects of the interacting minds. Aspects that are undoubtedly individual. Individuality extracts the ability to find an objective and measurable definition or distinction of the nature of the body.

    This issue deals with the body, where the human condition resides, and the environment contaminated by different technologies even though our focus is not them. We highlight the machinic processes that enhance the perception of the body, modifying the articulation with the outside world. We explore the plurality of natural and technological interfaces that impact on the materialization of an infinity of data and images that interfere with the senses.

    We live in an age where our ability to access organic processes is increasingly viewable. While neuroscience strives to give apprehensible results of brain states within the body, more doubts arise about the true nature of the mind.

    Mind, this entity, inapprehensible by the available technologies, continues a mystery that we slightly touch when we approach the perception, the poetics of the works, the individual’s interaction with artistic propositions and the artist own production. Interactor who is body; artist who is body.

    The scope of this edition has provided the necessary opening to talk about aspects both non-circumscribed and not allocated by strict classifications. We wanted to find a link between diverse contributions on the approaches related to the body/object/space theme.

    Thus, we seek artists who complexify this theme, precisely because of diversity, both in theoretical and poetic productions.

    We decided to organize this edition in three sections. The first, entitled “Perceptions”, “, brings a theoretical focus where perception of approximation and disconnection between authors. The second, entitled “transductions” presents the conceptual discourse on artistic productions, where the body is allocated in spaces with different physicalities and concepts, covering performance, film, video, photography, poetry, design and the architecture. The third section includes a selection of images, called “Corpus Poeticus: a visit to the poetics of images”, which brings intersemiotic translations, impressions, looks, research and experiments of artists that are working in the body/space transductions and express their thoughts in poetry, photography, performance, design and digital painting.

    The reader will find in “Perceptions” a part of the research on neurocinema, developed by Finnish filmmaker Pia Tikka, applied on a case study, together with another Finnish musicologist and expert in Cognitive Sciences, Mauri Kaipainen. It is the analysis of one of Maya Deren´s films (At land) that defends the thesis that this film is a precursory example of what they understand as “enactive cinema”. Besides this analysis, it will interest the reader some details of Maya Deren’s career which there is not too much written about in the Portuguese bibliography.

    Then, discussing the concepts of affordance and enaction, thus connecting directly with the previous text, Cleomar Rocha and Pablo de Regino draw a clear approach on these themes, focusing on interactive installations with support in phenomenology. To illustrate the nature of these concepts, they analyze the interactive installation “Scare the crows of Van Gogh”, produced by the Media Lab / UFG team in 2011, a laboratory of which Cleomar is the director.

    Bringing controversial considerations about mind and consciousness, Fernando Fogliano discusses the possibility of the existence of a kind of machinic unconscious, like a consequence of the extra somatization of our brains in the environment, that could generate efficient machines to promote what he calls “a play of sincere lies in art.” The argument revolves around Mimo Stein, a conversation robot created by Fábio Fom.

    The Portuguese artist, Maria Manuela Lopes, starts from the tattoo of symbolic rituals promising a scenario of science fiction in art, when it speaks of advanced biocompatible and “tattooable” technologies for medical purposes, but whose potential the artist can perceive and, from this perception, is capable of proposing art. Demonstrating this, the author presents her project Emerging Self, which works on the concept of dynamic tattooing.

    Following, we present the video and cinema language starting with Fernanda Duarte. She advances in the study of stage performance technologies, developing criticism, as demonstrated by scientific and technological possibilities, both regarding the difficulties and the use of electronic and computational stage devices, as an effort to emphasize the poetic potentialities that these technologies could compose a unique language, mixing the performer, audience and scene elements.

    Then, Júlio Mendonça presents a text based on the concepts of intersemiosis and holosignia. It brings the discussion of the hybridization of the languages of poetry and experimental cinema also presents the changes of the film narrative from the dialogue with the technology, pointing out how the variety of solutions reverberates in signs and establishes a multimedia result that interferes in the perception of the interactor.

    Next, Carolina Peres, aiming at a study on the relation of body, camera, and the sensible space in between, show us the photograph from a point of view of a person who recognizes her body as part of the photographic work, beyond the visual. She understands photography as a relational process, between direct experience with the technological object, to the complying of the image in its final attributes.

    The body, transformed by the plastic surgeries, has a subjective transfiguration in the hands of Raquel Fonseca. Her discourse and photographic gaze on the subject, lead the perceiver to a path that does not end in the corporeal aesthetic - the result of the surgery - but in the wonder of the artist, we say in the Peircean sense, about the time retained in the hands of the surgeon. Placing a narrow zone between the purpose of the person who undergoes this type of bodily reconstruction and the one who prefers the state of estrangement in the modifying process.

    The second section, “Transductions,” bridges art, architecture, design, and computational engineering. We start with Tania Fraga, who develops a reflection on her last 30 years of career, which shows an anticipatory vision of extended applications that, for her, computer technologies are, with which a person can experience whole body simulation experiments that are integral, including biocomputation mediating.

    In the sequence, Hugo Fortes talk about the observations concerning to the objects that surround him and, in this reflection, presents the interweaving of art and everyday life. He discusses individual works and projects that are the result of the partnership with Sissi Fonseca, his companion in both artistic production and life. He presents the meaning and processes of his performative creations, revealing fragments of the artists’ intimate stories and the confrontation of the surrounding world.

    Suzete Venturelli, in collaboration with several students and researchers from Media Lab / UNB including Cleomar Rocha, and Media Lab / UNIFESSPA, with the participation of Teófilo Augusto and Cláudio Coutinho, discuss recent productions of the laboratories, held in partnership, where the poiesis of the body presents itself in harmony and dialogue with the technified praxis, promoting autopoietic works. It is interesting to observe the diversity of propositions that this cooperation brings using open technology and low cost. Sometimes the experiments still not have a final defined form, but the potential of artistic production is there. Themes such as eroticism, interactive wearable objects, and poetic appropriations of the landscape are examples of the lively diversity of approaches.

    The meeting between Agda Carvalho, Clayton Policarpo, Edilson Ferri, Daniel Malva, Miguel Alonso, and Sergio Venâncio resulted in a collaborative and multidisciplinary process named “Ex-votos” project. The text brings the proposition Miracle Room that address an expanded body and articulated with the ritual present in the popular Brazilian culture of ex-votos. A body that is beyond its physiological condition, but which alters the world and, at the same time, is influenced by it. The text elaborates a reflection of the continuous proliferation of daily images, that are shared in the network, bringing, thus, the virtualization of the process of recognition of the image as representative of the natural world.

    In finding the third section, “Corpus Poeticus”, we prefer that the reader/experiencer discover, by itself, our intention with this selection of images.

    We also hope that the reader/experiencer of this edition shares with us the impression that, from the various possible approximations and transductions between body, object and space, what we have proposed here shows the unequivocal and permanent engendering of the human being (and, in our case, of the artist) with the continuous and impermanent forms of structural coupling between the being, the doing, and the objects of the world, that is, the extra somatization of all knowledge acquired far or recently.

    We would like to thank the authors, artists researchers, poets, photographers, performers, musicians, and film-makers investigating and contribute to unraveling the paradoxical question of body/object/space in our field. Likewise, we’re grateful to all our contributors that, in different ways, made this publication possible.

    Our gratitude extends to the Master and Doctoral Post-Graduate Program in Design of the Anhembi Morumbi University, whose commitment to the qualification of the DATJournal gave us the opportunity to develop this work.

    Rosangella Leote
    Agda Carvalho
    São Paulo, May, 2018

    Vol 2 No 2 (2017)

    In introducing the 4th DAT Journal Edition, we would like to thank the invited editorial team for their work in apprehending the relationship between the “II International Congress and VII Workshop: Design & Materials 2017” (with its main theme: New Experiments - from the innate materials to them to industry 4.0) and the scope of the journal. The featured papers in this edition were selected by the event’s Appraising Committee, through a process of blind peer review, and successful articles were submitted to the magazine.

    In its second edition, the “II International Congress and VII Workshop: Design & Materials 2017”, consolidates itself as an annual Design event, that interfaces strategically with Brazilian development. Placed and realized within the Design Graduate and Postgraduate School (PPGDesign/Univille) of Univille University
    (Santa Catarina State – Brazil) on June 2017, the event seeks to reinforce professionalism of Design in the Postgraduate Program at Univille University; contributing to a local and global knowledge exchange, and promoting the socialization and internationalization of the Postgraduate School.

    The main purpose of the Congress and second edition of the DAT Journal is to disclose the “state of art” in research as it relates to the materials and professionalism of design, architecture, engineering and assembly. We also seek to further promote thinking, discussion and expression of diverse forms of production gathered from design research, material selection and developmental processes. The main themes concern traditional, innovative, sustainable and experimental materiality.

    The academic papers result from presentations at the Congress and were important contributions to thinking. Graziela Moraes et al., from the Federal University of Santa Catarina/UFSC, talked about material selection to assistive technology goods, focused on neurological diatribe diseased. Ardalla Vieira et al., from the Federal Institute of Farroupilha/IFFar, considered approaches between art and technology in contemporary furniture design through the application of inlay (marchetarie). Mariana Piccoli et al., from Unifra, presented a characterization and parameter definition of the laser cutting of cardboard pipes g. Douglas Pereira et al., from São Paulo State University/Unesp, presented a comparison of traditional/manual prototyping techniques and considered their importance in design. Karla Pacheco et al., from the Federal University of Amazonas/UFAM, discussed an experimental approach to new products developing from a consideration of stones, wood, and natural fibers. Claudia Kayat and Claudio Magalhães from the Pontifical Catholic University of Rio de Janeiro/PUC-RJ, described biomimetic experiments and new digital technologies utilized in package design. Debora Barauna et al., from the Federal University of Paraná/UFPR, talked about research on advanced materials in design for 21st Century innovation. Marcia Bergmann et al., from the Pontifical Catholic University of Rio de Janeiro/PUC-RJ, considered hybrid materials in the textile industry. Marco Schmidt et al., from Univille University, discussed materials and process in the nautical industry. Victor Aguiar et al., also from Univille University, considered concerns within design, materials and the Univille PPGDesign.

    Finally, Fabiano Trein et al., from the University of Vale do Rio dos Sinos/Unisinos, wrote about waste as feedstock in the future industry.

    We would like to thank the authors, reviewers and everyone involved in contributing to this issue, and especially the Editorial Board of DATJournal - Design Art and Technology, for their guidance through the publication process, making it possible for the selected research papers to reach readers of this important scientific publication.

    We wish you pleasant reading.

    Published on: 20th December 2017.

  • v.2 n.1 2017 – Universos expandidos do Design: visões sobre o lúdico e o sensorial
    Vol 2 No 1 (2017)

    Talvez poucas áreas apresentem de maneira tão intrínseca quanto desafiadora as interfaces entre Design, Arte e Tecnologia como os games. Neste sentido, a produção acadêmica demonstra, hoje, acompanhar o vigor, a diversidade e a maturidade que o desenvolvimento destes jogos vêm demonstrando. É o que podemos perceber no dossiê desta edição do DATJournal, cujos textos trazem novas e instigantes reflexões sobre este objeto de estudo metamórfico e absolutamente interdisciplinar. E não poderia haver melhor maneira de iniciar esta edição do que com a participação de Lucia Santaella. No texto “Game arte no contexto da arte digital”, a autora elucida as diferenças entre uma estética do game – inerente a qualquer jogo digital - e a game arte. Para tanto, investiga as características e potencialidades da game arte e as mútuas transformabilidades estabelecidas com o campo da arte digital. Anita Cavaleiro discute, por meio de um levantamento próprio, a prática curatorial dos games em terrenos fronteiriços entre a arte, o lúdico e o entretenimento. Transitando neste mesmo território, mas abordando a questão pelo viés da autoria e da autonomia criativa, encontramos a contribuição de Julia Stateri. Dois exemplos desta prática criativa podem ser observados no texto de Suzete Venturelli, Anelise Witt, Artur Cabral Reis e José Loures, que descreve os gameart “EXTINÇÃO”, feito em parceria com a ONG Greenpeace, e “Paulista Invaders”, obra que abordou a temática da mobilidade urbana. Ainda em termos de prática criativa, encontramos o texto de Alckmar Luiz dos Santos sobre sua narrativa interativa intitulada “A derrubada do Sarrià”, uma espécie de text based game em torno da trágica derrota do Brasil na Copa do Mundo de futebol realizada na Espanha em 1982. Um olhar sobre as metodologias e ferramentas de design para serious games, mais especificamente os exergames, pode ser encontrado no texto de Bruno Santana Oliveira e Sergio Nesteriuk. Outra abordagem dentro dos chamados “jogos sérios” está presente no texto de Silvia Laurentiz, que busca compreender o exercício de certas habilidades cognitivas no game Osu! – desenvolvido por Dean “peppy” Herbert em 2007 e cujo código fonte tornou-se aberto (open-source) recentemente. Fechando este dossiê especial, Fabrizio Augusto Poltronieri traz uma discussão sobre formas de criatividade baseadas em algoritmos com especial reflexão crítica à questão da automação nos games. Não por acaso, os artigos desta edição que não foram inseridos no dossiê - ainda que não abordem a questão dos games em si - não deixam de ter, de alguma forma e em alguma medida, uma relação com o lúdico. Em “Sopro”, Milton Sogabe, Fernando Fogliano, Fabio Oliveira Nunes, Soraya Braz, Carolina Peres e Cleber Gazana apresentam uma obra interativa baseada em uma “poética do sopro” que evocam princípios científicos elementares e questões atuais, como a sustentabilidade. O papel do Design no desenvolvimento de produtos sustentáveis, criativos e inovadores no campo musical – mais especificamente a criação de uma campana para trompete – é a reflexão apresentada por Ermanno Aparo, Fernando Moreira da Silva e Liliana Soares. A questão do design inclusivo é abordada por Elizabeth Romani e Juliana Harrison Henno pelo viés do acervo tátil de museus, o que também estimula outras discussões no campo da representação da imagem. Uma destas discussões pode ser observada no ensaio de Regilene A. Sarzi-Ribeiro, que trata da apropriação de imagens realizadas pela artista Tori Ellison, cujas obras produzem “novos designs corporais” e outras subjetivações. Os editores gostariam de agradecer o afinco e a preciosa colaboração dos autores e desejar a todos uma ótima leitura.

  • v.1 n.2 2016 – Transdisciplinaridades: Projetos, Materiais e Processos
    Vol 1 No 2 (2016)

    Esta edição do periódico DATJournal marca os 10 anos do Programa de Pós-Graduação Stricto Sensu em Design, da Universidade Anhembi Morumbi, que tem duas linhas de pesquisa: Teoria, História e Crítica do Design/Design: Meios Interativos e Emergentes. Neste número, o objetivo é a divulgação do estado da arte da pesquisa relacionada a Materiais, Processos de Fabricação/Design, além de debater sobre as questões que envolvem a interdisciplinaridade entre Design, Arquitetura, Engenharia e processos de fabricação. Esta publicação é organizada por Rachel Zuanon, Gilbertto Prado e Cláudio Lima Ferreira, compartilha visões de pesquisadores e profissionais da área através de treze artigos.

    v.1 n.2 2016 Transdisciplinarities: Projects, Materials and Processes

    DATJournal marks the 10th anniversary of the Ph.D. and Master´'s Design Program at Anhembi Morumbi University [UAM], which has two research focuses: Design Theory, History and Criticism / Design: Interactive and Emerging Media.
    This issue is dedicated to discuss the state of the art of research related to Materials, Manufacturing/Design Processes, as well as the issues involving the interdisciplinarity between Design, Architecture, Engineering and manufacturing processes. This DATJournal edition is organized by Rachel Zuanon, Gilbertto Prado and Cláudio Lima Ferreira and share contributions from researchers and professionals in these fields of knowledge through thirteen full papers.

  • v.1 n.1 2016 – A tipografia e sua relação com o design, arte e tecnologia
    Vol 1 No 1 (2016)

    Esta edição do periódico DATJournal marca os 10 anos do Programa de Pós-Graduação Stricto Sensu em Design, da Universidade Anhembi Morumbi. Nela, a Tipografia é discutida a partir de contribuições teóricas, críticas, metodológicas e históricas, na relação com tecnologias, procedimentos e dispositivos tradicionais e emergentes, abraçando assim as duas linhas de pesquisa do referido Programa. O número especial compartilha visões de pesquisadores e profissionais da área através de doze artigos e um ensaio visual.

    DATJournal marks the 10th anniversary of the PhD and Master´s Design Program at Anhembi Morumbi University [UAM]. This issue is organized by Gisela Belluzzo and Rafael Neder and dedicated to discuss the Typography under its theoretical, critical, methodological and historical contributions in relation with technologies, design procedures and traditional and emerging devices. It embraces both research focus of the Design Program and share contributions from researchers and professionals of the Design field through twelve full papers and a visual essay.

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