DAT Journal

Projectualities

Marcos N. Beccari — Thu, 21 Nov 2024 00:00:00 -0300

Tomando a elaboração projetual da subjetividade enquanto prática de design, o presente estudo delineia um esboço genealógico das projetua- lidades que conformaram, ao longo do século XX, sujeitos projetivos. Após contextualizar o certame, assinalo duas projetualidades predominantes do século XX, a revolucionária e a integrada, e argumento que ambas fizeram do sujeito um locus de reintegração de técnicas e saberes por meio da prática projetual. Ao concluir que a integração total humano-máquina-ambiente permanece como norte das atuais práticas projetuais, este estudo contribui para a compreensão histórica do design enquanto meio de veiculação e ma- terialização de discursos, valores e condutas.

Perplexity

Leon Farhi Neto — Thu, 21 Nov 2024 00:00:00 -0300

Using Tracey Emin’s “I’ve got it all” as a starting point, this article looks at how perplexed we are by the complex relationship between desire and capital. What makes us perplexed is that capital can impose its values on us and govern our desires in such an inescapable way, despite our awareness of its harmful effects. To devel- op this problem, I draw on Spinoza’s ontology of power. I try to understand, on the one hand, the relationship between desire and the creation of value and, on the other, perplexity as a specific mode of imagination and affectivity. The image of money seems to play a crucial role here, even more important than the image of sex. Money, through the effectiveness of its absolute mediality, tends to become the supreme object of our desires. Faced with this, our perplexity is not a sign of powerlessness; on the contrary, it indicates the power of our imagination. As long as we do not lapse into dismay, enthusiasm or indifference, we are not completely subject to capital.

Collaborating with the enemy

Maurício Trentin — Thu, 21 Nov 2024 00:00:00 -0300

There is no possible emphasis that allows us to actually represent the exponential acceleration of development of digital agents, Generative AI’s, systems that use part of our culture as a dataset and develop particular modes of intelligence, agency and production. What we can infer and intuit, not only about each system itself, but about the way we relate to these interfaces, about ourselves, our desires and the creative use of these platforms. What these systems can mean for our poetic processes, and for a varied experience of distinct temporalities, symbiosis, practices and presences.

Starting from the debate established by Santaella on the symbiosis of humans and technologies, from the concept of tertiary media in Pross in the reading of Norval Baitello, in the concepts of line and surface, by Flusser, and in Byung-Chul's visions of temporality and ritual experience Han and Hans-Georg Gadamer, in addition to the simulacrum in Baudrillard, composite objects by Graham Harman, agency in Gell and the contemporary in Agamben, it is possible to think more deeply about digital entities and functions, and from there, analyze the emergence and part of the expressive potential of generative artificial intelligence today. And notice what the mirror of digital agents shows us as they feed on our culture, at the same time producing with us and also partially making us simulacra. It presents different classes of focus and the notion that complexity is not necessarily linked to longer interpretation or manifestation time.

Noticing distinct temporal experiences and how this informs artistic production, as well as the use of AI and its symbiotic and also destructive potentialities. It shows recent poetic experiences with digital agents, both with systems responding on command and in free operations. Part of a series of studies generated in symbiosis with AI’s, it serves as a record of the current capabilities of this type of interface, and, at the same time, gives some insight into its future potential. Systems that automate part of production cannot, at least for now, clone our human, ethical, political and social role in machine production. They only partially simulate us. But our real biases are already present and in use in the datasets.

AI Art’s watchful eye on AI surveillance

Andréia Machado Oliveira, Felix Rebolledo Palazuelos — Thu, 21 Nov 2024 00:00:00 -0300

This investigation explores how the field of AI Art has turned to surveillance issues that make use of artificial intelligence. These surveillance technologies, which use computer vision, such as eye tracking, and advanced algorithmic decisions, have a significant impact on the privacy and control of subjectivities. We examine how artists criticize issues of surveillance in their artistic proposals, telling us about a surveillance that is both veiled and declared. Furthermore, we problematize such issues in a very particular way in the artwork CyberFaces (2023), by LabInter/Brazil. By highlighting the invasive nature of surveillance, our study emphasizes the role of art in forming a reflective understanding and openness to discussions about surveillance in contemporary society. Therefore, critically, this article leads us to think about operational systems and the functioning of AI technologies, their storage and sharing systems, and in the ambiguous dynamics of desired and explicit AI surveillance, and, often concomitantly, rejected and denied.

About devices and technological art

Cleomar Rocha — Thu, 21 Nov 2024 00:00:00 -0300

The article discusses the concept of device, based on the conceptions of Foucault and Agamben, following the Philosophy of Technology, from Heidegger and Feenberg to the conceptions of Don Ihde, in conjunction with technological art. Analytical in orientation, the text concludes that technological art is, in itself, ontologically linked to the conception of a device, in its alignment with the Philosophy of Technology.

Oneroom-Babel

Beatriz Fernandes Pinheiro do Amaral, Luisa Angélica Paraguai Donati — Thu, 21 Nov 2024 00:00:00 -0300

The article analyzed Sanghee's immersive work OneRoom-Babel (2023) to point out how perceptive processes are technologically conditioned in artistic poetics. It became clear that the incorporations of devices are operational activities of poetic and fundamental to the manifestation of artistic subjectivity. The reflection was based methodologically on the practical dimension of the creation process (Rey, 2002), localizing its technical elements and then appropriating the concepts of body itself (Merleau-Ponty, 1999) and incorporation (Ihde, 2017) to describe the poetic operations. Finally, the reasons that lead the work to be configured as a tactical action were highlighted. (Certeau, 2008).

Audiovisual performance as na example of experimentalism in Brazil

Marcus Bastos — Thu, 21 Nov 2024 00:00:00 -0300

This article investigates the language of audiovisual performance as an example of experimentalism in Brazil. Based on a return to the antecedents of audiovisual performance in the country and an archaeology of audiovisual performance at international level, the text turns to an analysis of some examples of audiovisual performance in Brazil.

Graphic Design with Creative Coding

Marília Lyra Bergamo, Andre Luiz Silva, Victor Hugo Soares Valentim — Thu, 21 Nov 2024 00:00:00 -0300

This paper describes an approach to teaching creative coding to design students. It may respond to a situation where ‘apprehension of automation replacement’ from artificial intelligence and machine learning regarding graphic design production may affect students. As such, this paper also intends to evoke the importance of diversity in problem-solving and methods. This text started with a literature review regarding strategies for creative coding in design tertiary education. A detailed methodology of using abstract art as a principle to apply bidimensional logic in creating coding is presented. The method was applied during two semesters in a design course of 120 hours consisting of laboratory tutorials and project development. Finally, two significant projects where logic and coding tutorial learning resulted in graphic design products were selected to discuss the method. This work contributes to the topic by providing further data supporting creative coding methods in visual design education while demonstrating the graphic potential of such an approach.

Poetic transmutation of data in “R-Scuti – when the stars play” (2019)

Gabriel Cesar Camargo, Luisa Paraguai — Thu, 21 Nov 2024 00:00:00 -0300

Based on the installation work “R-Scuti – when the stars play” (2019) by the Realidades group (ECA/USP), the aim is to address the visualisation of data as sound and sound narratives that articulate light and sound frequencies in images. Using ^astronomical data from the star R-Scuti, the artistic proposal transforms the star’s memory of light into sound frequencies, reproduced in a structure with water, generating visual patterns (Laurentiz, 2019). The different materialities of data representation (Khan e Shah, 2011; Manovich, 2004; Manovich, 2011; Venturelli e Melo, 2019) permeate different perceptive modalities, and in this sense, the poetic exercise formalises relationships between intersigns.

Considerations on digital manufacturing processes

Guilherme Menegasso, Gilberto Prado — Thu, 21 Nov 2024 00:00:00 -0300

In this article we will present some considerations about digital manufacturing, specifically the 3D printing process and how it relates to the laser cutting process in the context of prototyping. These two processes allow parts and models to be made from comparatively cheap raw materials within product design prototyping. We see these two technologies present in laboratories at design, architecture and engineering universities, making it possible for students to come into contact with this technology very early on in their undergraduate studies. The so-called makerspaces and Fab Labs allow these technologies to be used, making them favorable learning environments. Knowing how to differentiate between the advantages of each process and how to use the most appropriate process to manufacture a piece has become essential in training new designers. We will discuss the differences, advantages and applications of each process in order to engage with the undergraduate design environment to better understand the application and use of these technologies.

Model of the city of São Paulo

Mirca Bonanao, Mirtes Marins de Oliveira — Thu, 21 Nov 2024 00:00:00 -0300

This article presents evidence about the model of the city of São Paulo, installed at the Museu Paulista since 1922, created by Henrique Bakkenist, at the request of the institution. This historical object is part of the collection of furniture, documents and works of art that tell the history of the city. Two preliminary questions suggest an investigation strategy: what is the relevance of the model of the city of São Paulo to the collection of that historical museum? What contributions to the Museu Paulista the exhibition design choices propose when presenting the model after the restoration process in recent years? The methodology used to produce this article focuses on case studies and bibliographical research, with analysis of information to construct hypotheses. Some of the evidence discussed here may resurface with due deepening in the research of the stricto-sensu master’s dissertation being developed at the Postgraduate Program in Design - Universidade Anhembi Morumbi.

Design Criteria in the Creation of Assistive Products

Monica Tavares, Juliana Henno, Chi-Nan Pai — Thu, 21 Nov 2024 00:00:00 -0300

This article discusses how aesthetic, practical and symbolic criteria can be applied, in a non-mutually exclusive way, to the design of assistive products, to broaden the experience of people with visual, auditory, or motor loss, improving their accessibility and inclusion in their sociocultural context. The design of the great majority of assistive devices prioritizes their functionality, relegating their aesthetic configuration and symbolic value to a secondary level, which reflects the inadequacy of many users of assistive devices in their cultural context. From this perspective, it's assumed the need to include people as a central point of the design experience. From the four parts in the article, we can understand that there is a guideline to directly or indirectly insert the individual into the production/reception processes of these objects, so that he/she feels able to re-signify such objects, by including attributes of aesthetic uniqueness and symbolic value in them, expanding the person's identification with the product and his/her belonging to the sociocultural context. Therefore: what resonates with the concept of transformational prosthesis.

Design and health and its convergence with psychoeducational design

Renato de Amorim Gomes, Milton Terumitsu Sogabe — Thu, 21 Nov 2024 00:00:00 -0300

The objective of this article is to present the convergence of design and health with psychoeducational design. Initially, we present practical applications of design in healthcare, such as medicine packaging, medical equipment and hospital infrastructure. Next, we make a brief bibliographical review of the terms that refer to design and health, in addition to the authors in the design area most cited in articles from 2010 to 2016. We understand that Gui Bonsiepe, Barab and Squire were the most cited authors among the articles of design and health.

Below, we look back at Psychoeducational Design based on the studies of Dr. Glenn Snelbecker (1929 - 2010) and educators and researchers Henry P. Cole and Warren E. Lacefield. Finally, we present a case study with the design project methodology from the perspective of Gui Bonsiepe in a grief reception program.

Sumário

DAT Journal — Thu, 21 Nov 2024 00:00:00 -0300

Editorial

Gilbertto Prado, Sérgio Nesteriuk — Thu, 21 Nov 2024 00:00:00 -0300