1,721,007 research outputs found
Trampoli: protesi artistiche
No full textL’articolo esplora le connessioni tra arte e prosthetic design ripercorrendo brevemente l’evoluzione morfologica, tipologica e dei settori di applicazione dei trampoli, e definendoli “protesi artistiche”. Partendo da una valutazione dell’alterazione della forma e delle modalità di interazione dell’uomo con il mondo guidata dalla tecnologia, l’articolo riprende le definizioni di protesi fornite da Tomàs Maldonado e Umberto Eco, e approfondisce il passaggio storico e tipologico che ha visto le protesi diventare da strumenti di lavoro che ottimizzano alcune funzioni e attività, a oggetti che amplificano la spettacolarità del corpo umano e per questo hanno trovato una naturale collocazione nelle Performing Arts, nelle attività circensi e nel teatro. L’articolo si conclude con un’analisi condotta sul campo e con la testimonianza di una compagnia di trampolieri romani, la Artefatti Stilts fondata dalla danzatrice, attrice e performer Miriam Abutori nel 1995
The “Animated Empire” of Post-modern Heroes: Japanese Anime on Italian TV in the Late 70s
Full text linkFrom Pacific regions to European countries, mass communication’s history had been exposed to numerous revolutions in the late 70s and early 80s: new TV shows, networks, technologies, audio-visual products, and disciplines examining the relationship between culture and media appeared. In those years, the Japanese media industry exported a huge amount of animated series in European countries and, especially in Italy, Pacific heroes became dominators of private and public networks that broadcasted their stories daily with great success. This article aims at tracing factors that opened Italian purchasers and spectators to the new Pacific heroes and at defining this cultural and economic phenomenon as an “animated empire” built for the last forty years. These phenomena can be explained by summarizing political, economic, social, and technological events that occurred in both Japan and Italy in the 1970s, such as the energy crisis of 1973, the economic dynamism of Japanese animation studios and Italian TV networks in the late 1970s, and the post-modern revolution of Italian society. The article examines these converging factors and relies upon a research path that is not new to the Italian scene, with Marco Pellittieri, Saburo Murakami, Guido Travassi, Franco Colombo, Luca Raffaelli, and Roberta Ponticello among the leading exponents, some of whom are mentioned in the article. These researchers in the last two decades have associated the study of television as a cultural medium, made up of genres, formats and contents, with the historical and social analysis of the arrival and distribution patterns of anime in the Italian TV programming
Anatomy of a puppet. Design driven categories for animated puppets' skin
No full textHow many things can a puppet be? Victoria Nelson’s examination of puppets’ history reveals that these objects have always mirrored the specific purposes they have been used for, and the historical periods they have been designed in. Puppets are objects made of material, manufactured according to specific techniques, and produced by human beings in order to satisfy different needs. They hold an interesting attitude to cross fields of application – from technology to art, and from psychology to sociology – and, in each of them, they show specific “anatomies”, characteristics and meanings. The history of puppets happens to be the one of human evolution, because puppets have inhabited human religious rites, technological experiments, artistic purposes and have been used as entertainment tools. This volume focuses on a specific typology of puppets, the animated ones, used as protagonists of stop-motion films. By engaging an interdisciplinary analysis of animated puppets’ manufacturing processes, this book places a challenge: it merges design and film studies’ methods of analysis and applies criteria of material examination of design objects to investigate puppets’ material aspects. As a result the book frames “design-driven” categories of animated puppets that classify stop-motion films according to puppets’ skin material and manufacturing features, and suggests linking those features with historical roots and anthropological scenarios. What happens if these categories are used also for gathering new levels of narratives and interpretations? This question closes the volume, and invites embracing a path of research that relies upon the engaged fields as it suggests giving value to puppets’ material aspects to identify new instruments of interpretation
Materia e Forma come driver di imperfezione
No full textDal Wabi-Sabi alla pratica orientale del Kintsugi, i concetti di imperfezione, casualità, differenza e la riformulazione del concetto di bellezza, dalla fine del XX secolo hanno influenzato la cultura, la filosofia, l’arte e le discipline progettuali occidentali, trasformandosi da difetto a qualità, e per questo apprezzate, ricercate e spesso progettate. Questi i presupposti alla base di alcune significative esperienza progettuali che hanno sfruttato ora l’elemento materico, ora quello morfologico, come portavoce di una rivoluzione culturale e matrice di nuove poetiche progettuali. L’articolo propone una breve panoramica di alcune di queste esperienze e ne definisce l’approccio progettuale shape push e material pull riprendendo espressioni mutuate dalle scienze economiche
Maghette, fancy idols e campioni olimpici. Gli anime giapponesi nella TV per ragazzi dell’Italia degli anni ’80
Full text linkMass communication’s history has been exposed to numerous revolutions in the late 70’s and early 80’s: new TV shows, channels, technologies and disciplines examining the relationship between culture and media appeared. In those years European countries, especially Italy, imported a massive amount of Japanese cartoons and broadcasted them on private networks. Several scholars and experts have named this phenomenon anime boom. By shortly summarizing political, economical, social and technological events that occurred in Italy in the 80’s, such as the establishment to produce new TV programs expressively dedicated to children and young adolescent (the so-called children’s TV), the article analyses two anime’s genres very popular in that decade, majokko anime (with magic little girls) and spokon anime (with sports’ champions). The article aims to examine those genres, their narratives, characters, modes and imageries they contributed to create, and to demonstrate their pedagogic qualities that have influenced the sensitivity and behaviours of thousands of children. Economic reasons, indeed, pushed the purchase of Japanese cartoons in the beginning, however the educational value and the attention to characters’ psychology made their success incomparable among Italian children in the 80’s
Paisajes animados como remediación y premediación: ciudades cíborgs y mundos virtuales en los anime japoneses
Full text linkCyberpunk anime often stage postapocalyptic and hyper-technological futures. By recognizing the narrative power of animated landscapes, this article describes the background of these anime and explores scenarios in which space and technology are hybridized in one narrative and aesthetic device. Examined landscapes are taken from anime: Future boy Conan (Mirai shōnen Konan, 1978), Akira (1988), Metropolis (Metoroporisu, 2001), Neon Genesis Evangelion (Shin seiki Evangerion, 1995), Digimon (1999), and Sword Art Online (2012). The analysis is diegetic, stylistic and symptomatic, and is divided into two main sections: in the first one technological cities are described as re-mediation (Grusin, 2017) of the architectures of the Japanese “Metabolists” of the 1960s; in the second one cyber-fantasy settings are explored as pre-mediation (ibídem) of immersive virtual worlds. In conclusion, the article recognizes anime as valuable medium to reveal and question social issues related to technology.Los anime del género ciberpunk muestran un futuro post-apocalíptico e hipertecnológico. Reconociendo el poder narrativo de los paisajes animados, el artículo describe los escenarios de algunos de esos anime, en los que el espacio y la tecnología se hibridan en un único dispositivo narrativo y estético. Las escenografías examinadas están tomadas de Conan, el niño del futuro (Mirai shōnen Konan, 1978), Akira (1988), Metrópolis (Metoroporisu, 2001), Neon Genesis Evangelion (Shin seiki Evangerion, 1995), Digimon (1999) y Sword Art Online (2012). El análisis es diegético, estilístico y sintomático, y se divide en dos grandes apartados: en el primero, las ciudades tecnológicas se describen como remediación (Grusin, 2017) de las arquitecturas de los “metabolistas” japoneses de los Sesenta; en el segundo, los escenarios de la fantasía cibernética se exploran como premediación (ibídem) de mundos virtuales inmersivos. En conclusión, el artículo reconoce al anime como un medio narrativo para revelar y discutir temas sociales relacionados con la tecnología
Mai più solo, mai più annoiato. Il gaming nello spatial design contemporaneo
Full text linkFrom the design of digital interfaces and virtual environments to the manufacture of ephemeral architectures that inhabit urban spaces, using entertainment as a significant quality of an artefact is a typical approach of the contemporary world. In 2008, in the digital media industry field, James Currier defined this way of designing as Gamification, and described it as a trend dating back to the 1980s, and applied to city scenarios through actions of urban regeneration, performances of urban art and spatial design projects. These ephemeral installations, unique in their guises, relate to the urban context with different approaches, occupying or reconfiguring it, and in both cases they evoke memories and create experiences that encourage a new, short but highly emotional dimension of socialization
Incoming/Outgoing. Flussi trans e multiculturali nel design contemporaneo.
Full text linkIn uno scenario contemporaneo mondializzato, capace di aprirsi alle culture, ai processi e ai patrimoni segnici e tipologici, le teorie e le pratiche del product design si trovano nelle condizioni di poter manipolare e rigenerare temi linguistici come l’eredità, la tradizione, la tipicità, il meticciato, la ricerca storica, il restyling, il genius loci, l’inclusività sociale mediante la manifattura. Il saggio, a valle di una disamina storico-critica, analizza e organizza casi studio di rilievo internazionale in cui il design diventa strumento di ibridazione e dialogo tra culture, luoghi, tradizioni e comunità
Le Voyage d’Orient (selezione critica)
No full textIn occasione dei 50 anni trascorsi dalla morte di Le Corbusier, nel Dipartimento di Pianificazione Design Tecnologia dell'Architettura (DPTA), è stato avviato un viaggio critico e interdisciplinare nelle sue opere scritte e l'incontro ravvicinato con 15 di queste. Sono stati scelti quei volumi la cui filiera temporale potesse restituire una sorta di percorso lungo il quale incrociare le sue teorie su progresso urbano e civile. Questo contributo ha lavorato sul testo Maison de l'homme, coinvolgendo due docenti del Dipartimento DPTA, i professori Cecilia Cecchini e Luciano Cupelloni come autori/tutor e i seguenti dottorandi come co-autori: Vincenzo Maselli, Emanuele Montereale e Yota Nicolarea.Marking the occasion of the 50th anniversary of Le Corbusier’s death, the Department of Planning, Design and Technology of Architecture at Sapienza University of Rome embarked upon a critical and interdisciplinary journey to his work, focusing on 15 amongst his written works. The selection of his works has been made on a temporal basis which could offer a sequence of path-connected theories of Le Corbusier on urban and social development
Waste-no-Taste: animated video recipes to prevent domestic food waste
Full text linkIn recent years numerous service and communication design projects have faced the problem of food waste and helped make the fight against it more efficient. How motion design tools can contribute to prevent this problem? The paper presents a project that consists in creating a shared platform of animated video recipes, prepared by using food at the end of its lifecycle. Participation, community, education, information and technology are the “ingredients” of the project, that operates through an online sharing platform. The platform has an attractive interface, and bring together ludic aspects, technological tools and animated contents. Addressed audience, indeed, collects animated video recipes in a “personal cookbook”, leaves feedbacks and suggestions, and participates in activities such as quizzes and scoring games. Animated representation of food also evokes a meaningful tradition that charges the action of cooking with a strong symbolic value, and makes it an instrument of knowledge of culinary, cultural and social traditions. The goal of the paper is to test project’s attractiveness, effectiveness, margins of development and variation before releasing the beta version
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