1,721,008 research outputs found
“Design! Oggetti, processi, esperienze.” Quando il design batte il tempo
No full text“Design! Oggetti, processi, esperienze” è una mostra che pone al centro la cultura del design italiano proponendo letture incrociate e diversi livelli interpretativi a partire dal patrimonio dell’archivio CSAC (Centro Studi e Archivio della Comunicazione dell’Università di Parma). Evidente il collegamento con il tema scelto da Parma per la sua candidatura a Capitale italiana della cultura 2020+21, “La cultura batte il tempo”, per riaffermare il ruolo dell’archivio non solo come luogo di conservazione e valorizzazione della storia del progetto e delle arti contemporanee ma anche come attivatore di racconti attraverso la rilettura della memoria
The Design Culture: Actions and Narratives Between Archives and Exhibitions
Full text linkThe article is focused on the value of design archives as
resources to be enhanced through exhibitions, and as heritage
for innovation based on process of knowledge re-use,
especially for creative industries.
Starting from the background of the debate on the
new dimension of the archive (especially the one focused
on the relation between art and design practices and the
archive), the article will focus on a specific context as the
one of design archives which have been in recent years
particularly vivid realities. Focusing on designer’s archive (in
between the broader system of design documentation), and
through a case study such as CSAC of Università degli Studi
di Parma, we will examine how these archives are not merely
repositories of drawings and how they can be connectors for
creative industries, through exhibitions and other programs.
In the second part of the article, we will focus on
three exhibitions devoted to design which are expressions of
a huge patrimony organized in structured archives, analysing
different curatorial practices and narratives paradigms. In
these cases, design exhibitions are ‘active’ representation of
design archives
Ridisegnare mappe tra arte e design/Redesigning maps, amid art and design
No full textLe discipline dell’arte e del design attraversano un periodo di sostanziale trasformazione. Nel 2014, si avvia un programma di ricerca dottorale con l’obiettivo di ridisegnare la mappa delle loro interrelazioni. Il testo rilegge i contenuti dello studio e propone una riflessione sui primi risultati raggiunti.
Se la crescente complessità delle condizioni contestuali spinge il design verso nuovi ambiti di ricerca e di azione, altrettanto varie- gate appaiono la riflessione e la produzione nel campo dell’arte. La ricerca riconosce numerose traiettorie per un rinnovato dialogo tra le due discipline: quella della contaminazione operata dai media sull’arte, che la rende sostanzialmente indistinguibile dai prodotti; quella del rispecchiamento dei processi di “produzione”, tra arte come progetto e prodotto come arte; quella che esplora i comportamenti sociali in direzione di “estetiche relazionali”; quella che indaga sulle potenzialità espressive delle tecnologie digitali; quella che si confronta con la dimensione inter- e trans-culturale nei processi della globalizzazione.
Stabiliti gli ambiti e i temi di confronto, la ricerca affronta la questione delle modalità e degli strumenti operativi intorno ai quali costruire nuove sinergie. Attraverso una serie di approfon- dimenti specifici, essa si concentra, in particolare, sulle ultime tre traiettorie evidenziate dalla mappa, là dove queste intercettano la disciplina del design nelle pratiche collaborative e nella promo- zione dell’“innovazione sociale”, nella concezione e realizzazione di spazi immersivi e interattivi, nella valorizzazione delle culture locali e delle tradizioni artigianali.
Il quadro d’insieme delinea un sistema vasto e reticolare, articolato ora su più piani, ciascuno dei quali descrive corrispondenze inedite: non territori, ma tragitti che tuttavia sembrano convergere verso un’idea di innovazione come impegno sociale e civile.The disciplines of art and design are going through a period of substantial transformation. In 2014, a doctoral research programme was launched with the aim of redesigning the map of their interrelations. The text re-reads the study’s contents and proposes a reflection on the initial results achieved.
If the increasing complexity of contextual conditions pushes design towards new fields of research and action, then reflection and production in the field of art appear equally varied. The research traces many trajectories for renewed dialogue between the two disciplines: that of the contamination carried out by the media on art, which makes it substantially indistinguishable from the products; that of the mirroring of the “production” processes, between art as a project and product as art; that which explores social behaviour in the direction of “relational aesthetics“; that which investigates the expressive potential of digital technologies; that which confronts the inter- and trans-cultural dimension in the processes of globalization.
Once the areas and themes of discussion have been outlined, the study concentrates on the question of the manners and opera- tional tools around which to create new synergies. Through a series of specific in-depth analyses, it focuses on, in particular, the last three trajectories highlighted by the map, wherever they intercept the discipline of design in collaborative practices and in the promotion of “social innovation”, in the conception and crea- tion of immersive and interactive spaces and in the enhancement of local cultures and artisan traditions.
The overall picture outlines a vast and reticular system, now articulated on several levels, each of which describes previously unknown correspondences: not territories, rather journeys that nevertheless seem to converge towards an idea of innovation as a social and civil commitment
The transcultural identity of Batik in the relationship among craft, art and design
Full text linkThe paper aims at illustrating a research carried out within the Design Department, Politecnico di Milano in the Design for Cultural Heritage field. The research studies the multicultural and transcultural elements of the Batik technique in the textile field and proposes a methodological tool in order to foster an intercultural communication and use. The paper will be divided into two parts. The first one about the role of the design discipline as a facilitator of innovation in transcultural processes. The second one about the methodology of the research. The method is focused on four steps: 1) the state of art of the transcultural routes of Batik (Netherland, Africa....) and cross-fertilization paths (from craftsmanship to industry, from art to design); 2) the collection of case studies where artists and designers re-interpret Batik; 3) the creation of a thematic tool: a critical, dynamic and digital archive with which curators, designers and artists can find data about Batik (in terms of patterns, techniques and so on) and can use it in order to trigger new concepts and transcultural contaminations; and 4) the creative workshop (with artists and designers) where verifying this tool that was used in order to develop experimental interpretations of Batik in different kinds of products
Decolonizing design for cultural heritage and museums within a systemic change framework: discussing the participatory paradigm
No full textIn today’s world, despite awareness of the need for systemic change and calls for a pluriverse, with a post-human or – better – more-than-human and planet-centric perspective (Forlano, 2017; Escobar, 2018; Tironi et al., 2024), design still often acts as a structure of authority and power. It operates as an exogenous entity on complex systems, somehow disregarding the value of endogenous processes. In the Cultural heritage domain (hereafter CH), already the subject of a profound discussion and transformation (Borowieki, Forbes and Fresa, 2016) and at the crossroads of the twin transition (JPI Cultural Heritage and JPI Climate, 2022), and therefore regardedas an ecosystem with great cultural complexity (Dameri and Demar-tini, 2020), the inconsistency of this pretentious design approach emerges clearly. The CH system is the one that magnifies the tremendous urgency of decolonizing its processes (Tolia-Kelly and Raymond, 2020) possi-bly with a design approach (Tunstall, 2023; Tironi et al., 2024) to really address a pluriverse development. In any case, few heritage studies fully succeed in truly decolonizing (Brulon Soares, Chagas, Mellado González and Weil, 2022), while others still refer to a post-colonial perspective that merely «enables new voices» (Turunen, 2020). This study therefore proposes a critical discussion of participatory design (PD) processes in CH based on literature review, in order to evaluate and assess the effectiveness and impact of such practices.The essay starts with a brief problematization of the concepts of participation in design and in CH, and the concept of decolonizing design. Next it moves into discussion of the selected research articles within mainstream design journals, the methodology used for selec-tion and analysis, and then the results
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Multidisciplinary Aspects of Design. Objects, Processes, Experiences and Narratives
Full text linkThe book addresses the contemporary perspectives of design on a multidisciplinary through 4 key words: objects, processes, experiences, narratives. It aims at further investigating the role of the archive for the design culture reflecting on “Memory and Future” and “The Tools of Design and the Language of Representation”, and also themes that are yet at the center of the multidisciplinary debate on design. The tenets of the conference (OPEN: objects, processes, experiences and narratives) will hence also correspond to the book sections:
-Objects. Design as focused on the object, on its functional and symbolic dimension, and at the same time on the object as a tool for representing cultures;
-Processes. The designer’s self-reflective moment which is focused on the analysis and on the definition of processes in various contexts, spanning innovation, social engagement, reflection on emergencies or forecasting.
-Experiences. Design as a theoretical and practical strategy aimed at facilitating experiential interactions among people, people and objects or environments.
-Narratives. Making history, representing through different media, archiving, narrating, and exhibiting design
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