Hegemonic discourse prevails in our post-colonial world. The social order created by Western power-knowledge (le savoir-pouvoir) has become increasingly challenged for failing to provide an in-alienable and equal ground of discourse. Exploring, through five illustrations, the extent to which an East-ern narrative can be translated into a Western context, or vice versa, my work speaks of my awareness to the Western-monopolised cultural arena sugar-coated under the grande utopian idea of Globalism/ Mondialism. Globalism, in its own execution, has come to justify the unequal exchange of materials as well as international values, and discriminately marginalises female discourses marked by women's appropriation of a masculinist language. This thesis will articulate an alternative discourse to construct a new perspec-tive on existing socio-cultural norms.
This valuable volume is part of the editorial series Architecture, Geometry, and Astronomy, edited by the same editors [1]. It documents the outcomes of the second international studies day: Representing Time. Architecture, Geometry, Astronomy, held at palazzo Gravina on the premises of the Department of Architecture, University of Naples Federico II on June 9, 2023. [read more]
<p class="5Abstract">Tujuan penelitian untuk mengkaji nilai estetika yang terdapat pada motif batik <em>sekar jagad</em> yang memiliki banyak ragam hias pada kainnya. Ragam hias di Yogyakarta dan Surakarta mengandung filosofi di dalamnya seperti keberuntungan, kekayaan, kebaikan, kemakmuran, kesehatan, dan lain- lain. Penelitian ini menggunakan metode penelitian jenis kualitatif yang bersifat deskriptif. Penelitian difokuskan pada motif batik <em>sekar jagad</em> Yogyakarta. Data dalam penelitian ini diperoleh dengan teknik observasi, wawancara, dan studi pustaka. Teknik analisis data dengan reduksi data, penyajian data, dan penarikan kesimpulan. Selain itu penelitian ini menggunakan pendekatan estetika yang diusung oleh A.A.M. Djelantik yang menyatakan bahwa estetika merupakan ilmu yang mempelajari tentang keindahan. Dalam ilmu estetika terdapat dua aspek yaitu aspek ilmiah dan aspek filosofi. Ilmu estetika memiliki tiga unsur mendasar yaitu: (1) wujud atau rupa; (2) bobot atau isi; (3) penampilan, penyajian. Hasil penelitian yang didapat menunjukan bahwa pada batik <em>sekar jagad</em> Yogyakarta memiliki tiga unsur estetika yang dicapai dengan: (1) keutuhan dengan perpaduan prinsip keseimbangan serta kontras dalam penyusunannya; (2) penonjolan yang dicapai dengan penggunaan kontras pada warna dan skala bidang; (3) keseimbangan dengan perpaduan simetris dan a-simetris yang tersusun secara harmoni.<strong></strong></p>
María Silvia-del-Rocío Covarrubias-Ruesga, Ignacio Barajas-Ávalos, Peter Chung-Alonso
Este es un artículo de investigación acerca de la problemática presente en la zona conurbada de Colima–Villa de Álvarez hasta la fecha. Esta es una ciudad horizontal, lo que provoca que la mancha urbana se esté extendiendo de forma acelerada y consuma áreas agrícolas y boscosas. Este hecho resulta preocupante, ya que las repercusiones en el medio ambiente natural y socioeconómico son muy negativas. Actualmente, se ha presentado un boom en la producción habitacional vertical; por ello, queda como pregunta si esa vivienda está acorde con las necesidades actuales y preferencias de la población de la ciudad. Se realizó una investigación para indagar en las características de la vivienda y su congruencia con las necesidades de los ocupantes actuales de estas, con la intención de generar parámetros que inciden en su producción acorde a preferencias y necesidades. Se busca poder participar en la búsqueda de compacidad y sostenibilidad de la ciudad, así como en la calidad de vida de los usuarios.
This contribution sheds light on discarded electronics repair in Accra, Ghana. After placing these practices in dialogue with the Western and Eurocentric narratives around the materiality of digital interactions and infrastructure, it delves into two arts and design contexts that gravitate around the electronic waste landfill and processing site of Agbogbloshie (Ghana). The first case study is the Agbogbloshie Makerspace (AMP), a critical making (and unmaking) platform empowering local repairers and dismantlers through open-source collaborative design methods. The contribution then focuses on the work of Akwasi Bediako Afrane, a Ghanaian media artist who re-appropriates discarded computers to critique and speculate on our sociotechnical condition. Situating these initiatives in the light of our broader dominant internet and computing narratives, the article situates the importance of these practices in order to tackle and raise awareness about the planetary electronic waste condition we live in.
Repair, a humble act born of necessity, has become in the 21st century an expression of artistic and discursive resistance to humankind’s unmaking of our societies and our environment. As a concrete practice, it serves to bring us together, to re-engage with materiality, and to invite us as consumers back to understanding the contexts of makers and making. As a metaphor and speculative meta-concept, it gives us an alternative and holistic way to attend to and face systemic social and environmental breakdown. To expand upon our respective approaches to repair in concept and practice, we issued a call for reflections on repair thinking and practices in the realm of art and design, resulting in the volume Repair: Sustainable Design Futures (Routledge, 2023), edited by us. This essay provides an overview of the book, highlighting the voices and artwork of the international, interdisciplinary group of authors included in the volume, speaking to multiple forms of brokenness and repair as entry points for sparking novel insights into how we might attend to our broken social and physical worlds. As a constellation of reflections on repair thinking and practices, the essays included in the book offer reparative responses to fractured systems, relationships, cities, architecture, and objects. Together they posit repair thinking as a way of addressing and nurturing our broken world.
El concepto de dependencia tiende a ser usado con un marcado tono negativo, como sinónimo de vulnerabilidad y falta de autonomía, ya sea en relación a la dependencia política y económica entre territorios, a la dependencia funcional y física entre personas debido a enfermedades o diversidades corporales y funcionales que no encajan con las estandarizaciones capacitistas, a la dependencia económica de unos individuos o colectivos respecto a otros, a la de unos seres vivos respecto a otros, a la dependencia global tecnológica, energética o de materias primas, a la dependencia a las drogas o incluso a la dependencia emocional.
Es por eso el presente número de Inmaterial recoge tres propuestas de investigación en arte y en diseño que se acercan desde distintos puntos de vista a la vida interdependiente, reconociéndola, situándola en el centro, repensándola, analizándola, poniéndola en juego y en valor.
In this section called ‘postcards from abroad’ we propose to diversify and open up the understandings and practices of repair itself, engaging material repair in conversation with other types of repair, coming from fields of creation and knowledge other than design. Although there could be many other ‘postcards’ from different reparative places, here we invited: DNA repair in the field of genetics; soil bioremediation from the perspective of edaphology; psychotherapy as a form of emotional and psychological ‘repair’; memory repair from the field of restorative justice and human rights; home maintenance and cleaning as a form of domestic infrastructure repair and care; repair of electrical and electronic devices by activist collectives for waste prevention; repair of scientific observation instruments in the field of astronomy; and neuro-rehabilitation and physical rehabilitation from the first-person experience of long COVID. We hope these postcards provide a plurality of visions and actions on repair that might lead to resonances, inspirations, and cross-fertilizations among the various forms of repair.
AbstractThe way an architectural drawing is composed and formatted is underwritten by its reliance on Western, modernist protocols of space‐making and construction. Guest‐editor of this issue and faculty in architecture at Carleton University in Ottawa, Ozayr Saloojee describes his drawing practice as a way to destabilise these assumptions and introduce in his work more social and political issues not prevalent in the western cannon.
En los últimos años, la producción del artista plástico argentino Daniel Santoro ha ido ganando cada vez mayor resonancia a nivel nacional, particularmente por su forma de abordar uno de los fenómenos políticos más singulares de la historia del país: el peronismo. Este trabajo analiza tal producción, pero lo hace siguiendo los lineamientos desarrollados por el escritor cubano José Lezama Lima, esos que fueran el producto de su recuperación y recreación del barroco americano y que ubican a la imagen en el centro de la escena. Por tanto, el artículo demuestra, primero, la potencialidad de estos lineamientos para erigirse en un método neobarroco de lectura, lo que abre la posibilidad de pensar en una hermenéutica de corte latinoamericano. Segundo, cómo las imágenes de Santoro pueden ser leídas en clave lezamiana, y en consecuencia, la forma en que el peronismo deviene en ellas, él mismo, un fenómeno neobarroco.
Drawing. Design. Illustration, Communication. Mass media
Kepulauan Karimunjawa terdiri dari 27 pulau yang secara administratif terletak di Kabupaten Jepara, Jawa Tengah. Karimunjawa mempunyai potensi alam yang luar biasa, pantai pasir putih dengan ombak lautnya yang landai serta keindahan karang laut beserta habitat yang ada di dalamnya membuatnya memjadi surga bagi pecinta snorkeling dan diving. Selain alam bawah lautnya yang indah, Karimunjawa juga memiliki potensi lainnya seperti makam Sunan Nyamplungan, hutan bakau, dan kayu khas Karimunjawa, yaitu Dewandaru. Selain itu, ada juga produk UMKM yang berkembang, tetapi sayang semuanya kalah oleh potensi alam bawah lautnya. Oleh karena itu, penting kiranya membuat media promosi kreatif yang menginformasikan potensi tersebut, yaitu melalui komik bahari berjudul “Bayu Samudera”. Metode perancangan yang dilakukan menggunakan metode kualitatif yang bersifat dekriptif dalam menganalisis sebuah peristiwa, aktivitas dan objek. Analisis yang digunakan adalah sintesis analisis, yang hasilnya sebagai dasar perancangan komik “Bayu Samudera”. Hasil dari perancangan komik ini adalah komik cetak maupun digital yang bertujuan untuk mempromosikan potensi produk UMKM di Karimunjawa.
The purpose. To carry out a thematic review of scientific works published in recent years and devoted to the emergence and historical development of the postcard greeting card of the late nineteenth — early twentieth century in the context of its historical and socio-cultural development.
The research methodology. The article uses well-known art methods: historical-cultural, historical-attribute, which cover the process of formation of a greeting card from the standpoint of socio-cultural and historical heritage, and not only from the standpoint of information, contribute to the evolution and figurative transformation of the greeting card. chronological order. Along with this, general scientific methods are used: comparative, analysis, synthesis, monitoring, systematization, statistical, historical and chronological, which allows scientists to analyze the communicative, philological component, to reveal the collection and classification of postcards. Based on this, we gain additional knowledge about the object of study.
The results. A thematic review of scientific works published in recent years and devoted to the emergence and historical development of the postal greeting card of the end of the 19th — beginning of the 20th century in the context of its historical and socio-cultural development was conducted. The problems, content and main ideas of scientific publications are considered, in which scientists conduct an analysis of the communicative and philological component, reveal the issue of collecting and classifying postcards, highlight the process of creating a postal greeting card from the standpoint of socio-cultural and historical heritage, and not only from the standpoint of a means of transmission information.
An overview of the directions of scientific research on postcards of the end of the 19th and the beginning of the 20th centuries was carried out. The authors of scientific works, for the most part, consider the history of the origin and formation of the greeting card (historical component), consider the postcard as one of the currents of fine art, in the context of studying the socio-cultural development of the corresponding historical period of time, propose methods of classification and attribution of postcards, considering the postcard from the point of view collecting, offering their approaches to exhibiting collectible collections of postcards by thematic areas. The article also includes scientific publications by authors who researched not only the front side of the postcard, which contains an artistic (graphic) image, but also the reverse side, which contains the text, postmarks, country of origin, dates of dispatch (production), etc. Attention is focused on the work, where the author for the first time carried out an analysis of the main directions of using the texts of open letters and developed methodical recommendations for their study.
As a result of research, it was established that the majority of modern scientific works, articles and other publications on a certain topic belong to Russian scientists. The Ukrainian greeting card as an object of study of the phenomenon of graphic art remains out of the attention of domestic researchers, especially in the context of design. This requires further art studies of the peculiarities of the design of the domestic postal greeting card of the end of the 19th and the beginning of the 20th centuries from the standpoint of figurative, stylistic and cultural potential.
Scientific novelty. Is to consider the issues, content and main ideas of scientific publications, in which scientists analyze the communicative, philological component, reveal the collection and classification of postcards, highlight the process of creating a greeting card from the standpoint of socio-cultural and historical heritage, not just means of transmitting information.
Practical significance. Dissertation research can serve as a basis for practical work with postcard funds in departments of libraries, archives and museums; for the development of methodological recommendations aimed at improving the modern practice of publishing art postcards; while reading courses on the history of Ukrainian art of the end of the 11th and beginning of the 20th centuries, as well as preparing a general monographic study on the Ukrainian art postcard.
Many important museums are now looking carefully at the technologies of Virtual Reality (VR) and Augmented Reality (AR) with the aim of offering their users appropriate cultural and educational insights (read more).
This article explores how Rutu Modan’s graphic novel Exit Wounds (2007) uses background art to provide richer insights into both the existential fear of complete annihilation experienced by many Israelis during The Second Intifada, and the inability of numerous Israelis to confront this fear directly. Drawing on comics studies, trauma studies, and Israel-Palestine studies the article examines markers of trauma, pulsating in plain sight yet hidden against a foreground of normality. In these backgrounds, recurring references to terror work to juxtapose the pretense of normalcy in the main narrative. By identifying repetitions of a common theme ‘braided’ throughout the illustrations, the reader has the potential to experience a supplementary affect outside of the narrative continuity of the work. The text simultaneously expresses a reticence to tell and a desire to show—rewarding close readings with a deeper understanding of the dissociative trauma that permeates Modan’s Israel.
Drawing. Design. Illustration, Literature (General)
This issue of Diseña explores beyond the restrictive boundaries that were originally imposed on design, installing questions about a design that reflects empirically on the conditions for the sustainability and habitability of the world (Sloterdijk, 2014). Instead of understanding design and politics as opposing and ontologically stable domains, we believe it’s relevant to revitalize design’s political drive, that is, its capacity to co-produce the social and unfold new political issues.
Bikes are a recurrent picture in the storyboards of Les Pieds Nickelés. They are shown in half of these comic books, especially in those dealing with the sport of cycling. Pellos uses bikes to highlight different types of rivalries: lower classes versus upper classes, competition in sports, stereotypes about how ingenious French people can be to circumvent the rules of powerless institutions (such as police). Even though the notion of conflict is present (in comparison with the other portrayed moments), it still remains a way of creating specific gags: repetitive falls, fights, etc.
Drawing. Design. Illustration, Literature (General)
Brazilian industrial design - design - is nearing completion of a half century of existence. During this time, it has undergone transformations, like any social phenomenon. It has broadened its horizons, expanded its markets, developed pedagogically, taken new responsibilities, adopted new names, and adapted exogenous methods to its reality. Finally, it has matured both as a field of knowledge and profession. However, some issues of language and pedagogy must be revised and reviewed in greater depth.
<p class="Predeterminado">Podemos definir la supergráfica como el diseño gráfico a gran escala o de gran formato.</p><p class="Predeterminado">La gran pionera de la supergráfica en los años 60 y 70 fue Barbara Stauffacher Solomon a la que seguirían diseñadores como Lance Wyman o Jean Philipe Lenclos.</p><p class="Predeterminado">Se analizará la relevancia de la supergráfica en la actualidad pues numerosos diseñadores gráficos intervienen espacios y edificios con ella. Paula Scher o Morag Myerscough son dos de las figuras más significativas de esta tendencia, denominada <em>Environmental Graphics</em> en el ámbito anglosajón.</p><p class="Predeterminado">Así mismo se estudiará cómo el arte contemporáneo y, en concreto, el <em>Street Art</em> están altamente ligados y relacionados con la supergráfica.</p><p class="Predeterminado"> </p>