DOCSLIB.ORG

Esad 2011 Web En.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Esad 2011 Web En.Pdf communication communication interior interior interior interior fashion fashion fashion fashion product product product product digital art and digital art and multimedia multimedia jewellery jewelleryC → Founded in 1989, the Matosinhos School of Art and Design esad is a private institute that has come to represent the highest standards of quality in art and design education, research and allied activities. → The aim of esad is to educate and prepare students with an understanding of the role of design and the arts in contemporary society, equipping them with the capacity to make critical interventions at national and international levels, furnishing them with the highest levels of creative, innovative, critical and technological skills and knowledge. → From its inception esad has stood for high quality teaching and has always promoted the idea that schools, as well as bestowing academic qualifications, must assume the role of educational bodies in the fullest meaning, being as they are platforms of communication between the public, industry and the market. → esad continues to develop its ambitious mission – to educate, to advance, to innovate – guided by a spirit in which the promotion of design and the arts is done with a watchful eye on the changing reality in which the school exists, and a determination to continually develop and improve that reality. 4 1 degree courses This first stage, leading to a BA Degree, offers the guarantee of a high-quality education in each specific area of art and design, and has the general objective of contributing towards the progress of society, developing and adapting skills relating to creativity, innovation, criticism and technology in order to ensure an efficient and pertinent response to the questions and problems that exist today. TheDegree in Design covers four areas of specialisation: Communication Design, Interior Design, Product Design and Fashion Design; and the Degree in Arts permits the option of one of two areas of specialization: Digital and Multimedia Arts or Jewellery. The study programme of both courses takes place over 3 years (180 ECTS) and over this period of time the number of both specific and optional modules will gradually increase, in order to aid decisions on the area of specialisation – ensuring the provision of more guided knowledge and of more specific technical skills and methodologies – as well as adding to the growing consciousness of the student of their own specific needs/demands in relation to training and/or in relation to their professional role and profile. masters The second stage, which leads to a Masters Degree, develops the work carried out during the previous stage, providing continuous education that becomes increasingly demanding, accompanying the development and maturity of the student to creating professionals able to meet the needs of companies and design studios, fitting in to the workplace with ease.The Masters in Design has three areas of specialisation: Communication, Product and Interiors. Taking place over 2 years (120 ECTS), the curriculum for the Masters in Design combines theoretical, project-based and lab-based modules. The first year consists of a module in transversal theory, another that is project-based, and a group of specific modules aimed at the development of practical skills. The second year continues and completes this pathway with a module per semester that ensures that the chosen pathway of education has the desired depth and that a project, a placement report or a dissertation is carried out with its respective public defence. The courses run by esad offer a plurality of study routes so as to post-graduate As an alternative route to a Masters degree, ESAD offers a selection ofPost-Graduate courses that count meet the needs and requirements as credits towards the Masters in Design. These courses correspond to educational pathways in specific areas of design which allow participants to acquire and deepen their knowledge in each area, as well of students in the fulfilment of their as developing the professional skills demanded in the workplace and furnishing participants with the ambitions. The flexibility of academic specialist workplace training which is such an important tool within the business environment. pathways provides added value, particularly in relation to the greater esad/lab esad offers a vast program ofOpen Courses – esad/lab – which allow, in short periods of time, number of training stages that are professionals and students who are studying for their degree or Masters, to update their knowledge and acquire new skills in areas such as design, video, animation, modelling or game design, amongst many offered. others. • 2 3 → mobilität → mobility → mobilnost → international mobility liikuvus → movilidad → mobilitat Promotion of European citizenship, intercultural relations in the area of Art → liikkuvuus → mobilité → mobiliteit → and Design, and the possibility of students attending foreign universities mobilitás → mobilità → mobilitāte for a period of between 3 months and one year are all aims promoted by esad, whether it is under the erasmus program or as a result of bilateral → mobilumas → mobilità → mobilności → agreements. esad is proud to state that we attract a high number of foreign students (around 10% of esad’s students in 2009/2010) and that we are mobilitate → hareketlilik → mobilidade visited every year by many foreign teachers who hold workshops, speak at conferences or are otherwise in touch with the teaching staff in each area. → κινητικότητα → תודיינה → мобильность 18 29 25 27 25 28 20 26 30 37 12 19 26 26 32 24 49 74 112 111 Vantaa Saint Petersburg Tallinn Riga Glasgow Siauliai Gdansk Vilnius Dublin 2001/02 2010/11 2001/02 2010/11 Outgoing students Ingoing students Warsaw Antwerp Eindhoven Brussels Hasselt Lodz Liege Cologne Idar-Oberstein Amiens Katowice Germany, Austria, Belgium, Scotland, Slovakia, Slovenia, Banská Bystrica Estonia, Spain, Finland, France, Greece, Holland, Hungary, Paris Lorient Graz Zurich Budapest Nantes Ireland, Israel, Italy, Latvia, Lithuania, Malta, Poland, Iasi Ljubljana Romania, Switzerland, Turkey, Brazil, Canada, Russia. Milan Brescia Asturias Urbino La Rioja esad has today around 70 partnerships with foreign universities, creating Burgos Soria ESAD Zamora Barcelona a vast range of choices which are available to students in their 2nd and 3rd Segovia Istambul Naples Madrid Castellon Ioannina Ankara years of their degree courses and also to students in the second stage of Tommelloso Valencia Eskisehir Ciudad Real Alcoy studies (Masters). esad seeks to enable students who finish their course to Mytilini Murcia Orihuela Izmir take up work placements in foreign companies, under the Leonardo program, Alicante Athens Burdur and has for this purpose established a partnership with apgei – Porto. To Antalya Adana Malta enable students in the second stage of studies to frequent part or full-time study placements, esad also makes great efforts to create partnerships and agreements with foreign universities and companies. • ⊳ Montreal ⊳ Rio de Janeiro ⊳ Belo Horizonte Tel Aviv 5 The Communication Design course aims to produce designers who are able to respond to the The Interior Design course is aimed at students who would like to develop skills in the requests made to them by differing institutions and organisations, both public and private, understanding and transformation of space, learning about the planning instruments in the areas of visual identity, editorial design, branding, posters, illustration, packaging inherent in the fields of architecture, equipment and furniture design. The fragile boundary design, information graphics, web design and type design. Our study programme gives value between design and architecture allows the student to develop a very personal perspective in to critical thought and systematic thinking; experimentation and the dynamic resolution of relation to the concept of inhabiting a living space. The purpose of the course is to research, problems; creativity and intellectual curiosity; and the development of interpersonal skills. reflect on and find a more profound manner of contemporary living. The practice of the The student is brought closer to current professional reality in order to enrich creativity and planning of interiors demands thorough and careful training combined with a continuous strengthen the values relating to identity, personality and individuality, in order to develop level of work, leaving students rich in the experience of interior design as an art form as well a critical, civic and ethical conscience in dealing with questions relating to the environment, as an exciting and attractive profession. • inclusion and sustainability, in a constant search for improvement in the quality of life of Man and Society. • communication interior design degree in design course director Margarida Azevedo degree in design course director Paulo Coelho YEAR 1 24 HRS 60 ECTS YEAR 3 24 HRS 60 ECTS YEAR 1 24 HRS 60 ECTS YEAR 3 24 HRS 60 ECTS MODULES HRS ECTS MODULES HRS ECTS MODULES HRS ECTS MODULES HRS ECTS 51036 Introduction to Design A 6 15 11026 Project II — Communication A 8 15 51036 Introduction to Design A 6 15 31023 Project II — Interiors A 8 15 51024 Drawing I A 4 9 11015 Digital Media Design A 4 9 51024 Drawing I A 4 9 31024 Digital laboratory III A 4 9 51026 Digital Laboratory I A 4 9 11027 Visual Design and Culture A 2 6 51026 Digital Laboratory I A 4 9 31025 The Culture of Living A 2 6 51029 Image Laboratory A 3 9 11028 Print
Load more

Recommended publications
  • Methods for a Critical Graphic Design Practice
    Title Design as criticism: methods for a critical graphic design p r a c tic e Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/12027/ Dat e 2 0 1 7 Citation Laranjo, Francisco Miguel (2017) Design as criticism: methods for a critical graphic design practice. PhD thesis, University of the Arts London. Cr e a to rs Laranjo, Francisco Miguel Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) University of the Arts London – London College of Communication February 2017 First submission: October 2015 2 Abstract This practice-led research is the result of an interest in graphic design as a specific critical activity. Existing in the context of the 2008 financial and subsequent political crisis, both this thesis and my work are situated in an expanded field of graphic design. This research examines the emergence of the terms critical design and critical practice, and aims to develop methods that use criticism during the design process from a practitioner’s perspective. Central aims of this research are to address a gap in design discourse in relation to this terminology and impact designers operating under the banner of such terms, as well as challenging practitioners to develop a more critical design practice. The central argument of this thesis is that in order to develop a critical practice, a designer must approach design as criticism.
    [Show full text]
  • Painting-And-Teaching.Pdf
    EDITED BY ICOCEP ORGANIZATION Francisco Laranjo COMMITTEE Domingos Loureiro Francisco Laranjo Sofia Torres Domingos Loureiro Teresa Almeida Sofia Torres Teresa Almeida DOCUMENTATION Domingos Loureiro ORGANIZATION Sofia Torres Francisco Laranjo Domingos Loureiro DESIGN Sofia Torres Tudo a ver Teresa Almeida Victoria Sánchez Giner TITLE Fernando Picornell Cantero Painting and Teaching – Reflexions Aurora Alcaide Ramírez inside the University Yehia Youssef Ramadan PUBLISHED IN SCIENTIFIC COMMITTEE November, 2017 Alfonso Sánchez Luna (UMH-SP) By Research Institute in Art, Design, and Antonio García López (FBBAAUM-SP) Society - i2ADS António Quadros Ferreira (FBAUP-PT) University of Oporto, Faculty of Fine Aurora Alcaide Ramírez (FBBAAUM- Arts SP) Av. Rodrigues de Freitas, 265, 4449- 021, Domingos Loureiro (FBAUP-PT) Porto, Portugal Fernando Picornell Cantero (FBBAAUM-SP) www.i2ads.up.pt Francisco Laranjo, (FBAUP-PT) www.icocep.com Graciela Machado (FBAUP-PT) Greddy Assa (BL) This book gathers a selection of articles Ignacio López Moreno (FBBAAUM-SP) made in the context of the International José Aja (FBBAAUC -SP) Congress on Contemporary European José Ramalheira Vaz (FBAUP -PT) Painting, held at the Faculty of Fine Arts Julio Cesar Abad Vidal (SP) of the University of Porto, in April 3, 4 Laura Castro (U. Católica Porto-PT) and 5, 2017. © Maria de Fátima Lambert (FCSH.UNL- PT) Languages: Portuguese, Spanish, English Paulo Almeida (FBAUP-PT) Ricardo Leite (FBAUP-PT) 1st Edition: 150 copies. Rosa María Brún Jaén (UGR) Rui Serra (FBAUL-PT) ISBN Sofía Torres (FBAUP-PT) 978-989-746-136-1 [Printed Version] Teresa Almeida (FBAUP-PT) 978-989-746-142-2 [Digital Version] Victoria Sánchez Giner (FBBAAUM-SP) Yehia Youssef Ramadan (FBBAAUM-SP Cover Image: Vera Dantas /portoenvolto.com 1 2 INDEX - NOVA PALETA EDUCATIVA PARA A EDUCAÇÃO UNIVERSITÁRIA Afonso Pinhão Ferreira ~ p.
    [Show full text]
  • Devices for Hyper-Polluted Futures
    Devices for Hyper-Polluted Futures By Sean Harkin A thesis exhibition presented to OCAD University in partial fulfillment of the requirements for the degree of Masters of Design (MDes) in Digital Futures Toronto Media Arts Centre, April 12th - 14th Toronto, Ontario, Canada, April 2019 Sean Harkin 2019 This work is licenced under the Attribution-NonCommercial-ShareAlike 4.0 International (CC BY- NC-SA 4.0): https://creativecommons.org/licenses/by-nc-sa/4.0/ write to Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA. Creative Commons Copyright This work is licensed under the Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0): https://creativecommons.org/licenses/by-nc-sa/4.0/ You are free to: • Share — copy and redistribute the material in any medium or format • Adapt — remix, transform, and build upon the material Under the following terms: • Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • NonCommercial — You may not use the material for commercial purposes. • ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. • No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits. Notices: • You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation.
    [Show full text]
  • Confia 2017 Proceedings.Pdf
    Publisher / Editor: Instituto Politécnico do Càvado e do Ave Address / Morada: Vila Frescaínha, S. Martinho, 4750-810 Barcelos, Portugal July / Julho 2017 ISBN: 978-989-99861-3-8 5th International Conference on Illustrationand Animation 5 ed. Conferência Internacional em Ilustração e Animação Editorial Design / Design editorial · Cláudio Ferreira Pagination / Paginação . Manuel Albino Cover Design / Design da Capa: Jorge Marques ORGANIZING COMMITTEE General chair Paula Tavares - IPCA Organization chair Manuela Cunha - IPCA Pedro Mota Teixeira - IPCA Program chair Alan Male - Univ. College Falmouth Organization Paula Tavares, Pedro Mota Teixeira, Marta Madureira, Jorge T. Marques, Manuel Albino, Isabel Xavier Scientific Committee Alan Male - Univ. College Falmouth (UK) Alan Young - Auckland Univ. of Technology (NZ) Alfonso Ruiz Rallo - Univers. de La Laguna (ES) Ana Lúcia Pinto - IPCA (PT) Ana Leonor Madeira Rodrigues - U. Lisboa (PT) António Costa Valente - Univ. Aveiro (PT) António Quadros Ferreira - Univ. Porto (PT) Antonio Horno - Univ. Jaén (ES) Birgitta Hosea - Royal College of Arts (UK) Carlos Hollanda - IED Rio de Janeiro (BR) Carlos Nogueira - Univ. Nova Lisbon (PT) Chelo Matesanz - Univ. Vigo (ES) Debora Harty - Loughborough Univ. (UK) Eduardo Corte Real - IADE Lisbon (PT) Edwin Carels - Univ. College of Ghent (BE) Fernando Galrito - Inst. Polit. Leiria (PT) Francisco Laranjo - Univ. Porto (PT) Hannes Rall - Nanyang Techno. University (SG) Helena Barbosa - Univ. Aveiro (PT) Joana Quental - Univ. Aveiro (PT) Jorge Teixeira Marques - IPCA (PT) José Andrés Iglesias - Univ. Vigo (ES) José Chavete Rodriguez - Univ. Vigo (ES) José Antonio Castro - Univ. Vigo (ES) José Santiago Iglesias - Univ. Vigo (ES) Juan Carlos Róman - Univ. Vigo (ES) Júlio Dolbeth - Univ. Porto (PT) Luís Lima - IPCA (PT) Luís Mendonça - Univ.
    [Show full text]
  • A Study of the Contemporary Portuguese Stained Glass: Artists and Works
    International Journal of Architecture, Arts and Applications 2021; 7(2): 24-32 http://www.sciencepublishinggroup.com/j/ijaaa doi: 10.11648/j.ijaaa.20210702.11 ISSN: 2472-1107 (Print); ISSN: 2472-1131 (Online) A Study of the Contemporary Portuguese Stained Glass: Artists and Works Teresa Almeida1, 2 1Vicarte Research Unit “Glass and Ceramics for the Art”, Nova School of Science & Technology, Lisbon, Portugal 2i2ads Research Institute in Art, Design and Society Faculty of Fine Art, Porto University, Porto, Portugal Email address: To cite this article: Teresa Almeida. A Study of the Contemporary Portuguese Stained Glass: Artists and Works. International Journal of Architecture, Arts and Applications. Vol. 7, No. 2, 2021, pp. 24-32. doi: 10.11648/j.ijaaa.20210702.11 Received: February 20, 2021; Accepted: March 18, 2021; Published: April 30, 2021 Abstract: The qualities of glass as transparency, translucence, brightness and versatility for the various applications, practical and aesthetics make this material indispensable for the artistic creation with a close connection with architecture. In an historical approach this paper will succinctly study the tradition and charisma of this light material, giving special credit to the stained glass, demonstrate the emerge of this Art in the relation with architecture, concerning the Portuguese contemporary panorama. Portugal has a history regarding contemporary stained glass that is unknown. In the 20th century we assist to an interest and development in this art, as many recognized Portuguese artist, painters and sculptures contribute to this mural art, conceiving cartoons and maquettes that would be produce in glass studios, some of them in Portugal, in a close relationship between artists and craftsmen.
    [Show full text]
  • Beyond Speculative Design: Past – Present – Future
    Title Beyond Speculative Design: Past – Present – Future Editors Ivica Mitrović, James Auger, Julian Hanna, Ingi Helgason Publisher SpeculativeEdu; Arts Academy, University of Split Split, 2021 ISBN 978-953-6617-56-2 Print Kerschoffset, Zagreb Design & layout Oleg Šuran Set in Bara & Mote (TPTQ) + Fzn Copy (FznFnts) SpeculativeEdu team ☞ Ivica Mitrović, Oleg Šuran, Bruna Paušić (University of Split, Croatia) ☞ Matt Ward, Jimmy Loizeau, Dash Macdonald (Goldsmiths, University of London, UK) ☞ James Auger, Julian Hanna, Enrique Encinas (Interactive Technologies Institute, Portugal + École normale supérieure Paris-Saclay, France + Tilburg University, The Netherlands + Aalborg University, Denmark) ☞ Michael Smyth, Ingi Helgason (Edinburgh Napier University, UK) ☞ Salvatore Iaconesi, Oriana Persico (Human Ecosystems Relazioni, Italy) ☞ Sara Božanić, Petra Bertalanič, Mateja Filipović-Sandalj, Pika Novak (Institute for Transmedia Design, Slovenia) This project has been funded with support from the European Commission. The crea- tion of this publication has been funded by the ERASMUS+ Programme of the European Union under grant no. 2018-1-HR01-KA203-047427. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. BEYOND SPECUL ATIVE DESIGN: PAST – PRESENT – FUTURE speculativeedu.eu SpeculativeEdu NeoRural Futures Summer School, Rome 2019. CONTENTS CH.1 Beyond Speculations James Auger, Julian Hanna, Ivica Mitrović 12 ch.2 Echoes of Futures
    [Show full text]
  • Passion for Freedom Art Festival 10Th-Anniversary Edition, 1 – 12 October 2018, London
    *** PRESS RELEASE – 15 September 2018 *** Passion for Freedom Art Festival 10th-anniversary edition, 1 – 12 October 2018, London The Royal Opera Arcade Gallery & La Galleria Pall Mall Royal Opera Arcade, 5b Pall Mall, London SW1Y 4UY The 10th-anniversary edition of internationally renowned Passion for Freedom Art Festival will open in London on 1 - 12 October 2018 at its new location – the Royal Opera Arcade Gallery & La Galleria Pall Mall. The exhibition showcases uncensored art from around the world, promoting human rights, highlighting injustice and celebrating artistic freedom. Passion for Freedom was founded in 2008 by a small group of friends and over the past ten years has grown into an international network of artists, journalists, filmmakers and activists striving to celebrate and protect freedom of expression. The competition attracts much worldwide attention. This year, we received more than 200 submissions out of which we will exhibit over 50 shortlisted artists. From Venezuela to Turkey to the United Kingdom, those artists ceaselessly show the restraints imposed on their art by their societies and question the limits of freedom of speech, expression, and information in their countries. Altogether, we will present you 100 oriGinal and brave artworks at a prominent location right in the heart of London. Passion for Freedom recognises artists in various disciplines – painting, photography, sculpture, performance, video installations, as well as authors, filmmakers and journalists. Competitors will be judged by a prestigious
    [Show full text]
  • Paul David Hardman
    Paul David Hardman HOW SHOULD WE TEACH DESIGN? THE STUDIO MODEL AND THE POTENTIAL FOR ITS DEVELOPMENT THROUGH ACTION RESEARCH Tese no âmbito do Doutoramento em Arte Contemporânea orientada pelos Professores Doutores Licínio Gomes Roque e Nuno Miguel Cabral Carreira Coelho, apresentada na Colégio das Artes, Universidade de Coimbra. Julho de 2020 Paul David Hardman How should we teach design? The studio model and the potential for its development through Action Research Advisors: Licínio Gomes Roque Nuno Miguel Cabral Carreira Coelho Thesis completed at the University of Coimbra for compliance with the requirements necessary to obtain the degree of Doctor of Contemporary Art held under the supervision of Licínio Gomes Roque and Nuno Miguel Cabral Carreira Coelho. College of Arts, University of Coimbra, Portugal 2020 3 4 Dedicated to my parents. 5 6 Acknowledgements I would like to thank the my orientators for their support and guidance, and the subjects of the interviews who kindly gave up their time: Susana Lobo, Artur Rebelo, Andrew Howard, Francisco Laranjo, Sofia Gonçalves, and Pedro Cruz. Of course, the contributions of the many students of the classes described in the case studies should be acknowledged, as should that of Rui Craveirinha who was kind enough to test out my proposed crit format in his own class. Words of encouragement throughout the process of completing this thesis from many of my colleagues were also appreciated but are too numerous to list. 7 8 Research question This thesis asks the basic question, how should we
    [Show full text]
  • The D.A.P. Catalog Fall 2020
    THE D.A.P. CATALOG FALL 2020 Featured Releases 2 Limited Editions 78 Journals 79 CATALOG EDITOR Previously Announced Exhibition Catalogs 80 Thomas Evans DESIGNER Martha Ormiston Fall Highlights 82 COPY WRITING Arthur Cañedo, Megan Ashley DiNoia, Thomas Evans, Emilia Copeland Titus Photography 84 Art 108 ABOVE: Architecture & Design 144 B. Wurtz, various pan paintings. From B. Wurtz: Pan Paintings, published by Hunters Point Press. See page 127. Specialty Books 162 FRONT COVER: John Baldessari, Palm Tree/Seascape, 2010. From John Baldessari, published by Walther König, Art 164 Köln. See page 61. Photography 190 BACK COVER: Feliciano Centurión, Estoy vivo, 1994. From Feliciano Centurión, published by Americas Society. Backlist Highlights 197 See page 127. Index 205 Plus sign indicates that a title is listed on Edelweiss NEED HIGHER RES Gerhard Richter: Landscape The world’s most famous painter focuses on the depiction of natural environments, from sunsets to seascapes to suburban streets Gerhard Richter’s paintings combine photorealism and abstraction in a manner that is completely unique to the German artist. A master of texture, Richter has experimented with different techniques of paint application throughout his career. His hallmark is the illusion of motion blur in his paintings, which are referenced from photographs he himself has taken, obscuring his subjects with gentle brushstrokes or the scrape of a squeegee, softening the edges of his figures to appear as though they had been captured by an unfocused lens. This publication concentrates on the theme of landscape in Richter’s work, a genre to which he has remained faithful for over 60 years, capturing environments from seascapes to countryside.
    [Show full text]
  • 08 November 2009 Experimentadesign Lisboa / 09 September — 08 November 2009 2
    Detailed Programme 23.07.09 ExperimentaDesign 09 September — 08 November 2009 ExperimentaDesign Lisboa / 09 September — 08 November 2009 2 ExperimentaDesign is an international Biennale Goals — dedicated to design, architecture and creativity. Positioning itself as a forward-thinking, dynamic 1. To focus on innovation and excellence in the platform, EXD fosters and analyses contemporary Biennale’s programme, bringing economic agents culture through discussion and reflection. It and creative practitioners closer; is a springboard for up-and-coming talent and 2. To invest strongly in the Biennale’s core programme experimentation in disciplines across the creative events, with a view to consolidating its international spectrum, showcasing original projects and ideas standing in the field of design and architecture; in different formats, from exhibitions to urban 3. To strengthen and expand the network of interventions, debates and lectures. With a focus on international collaborations; people and ideas, the Biennale’s programme is designed 4. To develop projects on local (Lisbon), national to provide insight and incentive both to a specialised (Portugal) and transnational issues; audience and the public at large, disseminating 5. To widen the Education Service’s scope of action by information and fuelling debate. EXD programs diversifying its activities; possibilities, crosses paths, questions and experiments, 6. To take on a proactive role championing social challenging participants and audiences. cohesion and responsibility; 7. To give priority to the production of audio-visual Taking place in Lisbon (since 1999) and for the first materials especially for broadcasting and web, in time (in 2008) in Amsterdam the Biennale engages tandem publishing catalogues; a worldwide network of agents in various fields, 8.
    [Show full text]
  • Download, and Modify
    MATTHEW STADLER [8](EXTRACT) COMPOSITION AS PUBLICATION[–] KATIE EVANS AND GABRIELA MATUSZYK[11] BC: RAMIA MAZÉ INTERVIEW HELEN TARANOWSKI [21] PUBLISHING FEMINIST VOICES IN TECHNOLOGY CRISTINA ROSIQUE GOMEZ[28]NO! I DON’T WANT TO TAKE[—] TINGXI GONG[31]LIVE IN XIAOQING WANG [37]MUTE BODIES GABRIELA MATUSZYK[43] MEET NORMAN, A BRITISH PASSPORT AADHYA BARANWAL[51]THE ONTOLOGY OF THINGS LAN LE[54]OCCASIONAL WANDERERS DERRICK THOMAS[56]NO FATS. NO FEMS[—] KATIE EVANS AND GABRIELA MATUSZYK[61]BC: TANIA MESSELL INTERVIEW MARIA BAZHANOVA[65]PLEASE, TAKE A SEAT NÚRIA PLA CID[77] READERS: IN ACTION AADHYA BARANWAL, KATIE EVANS, JAMES LANGDON, GABRIELA MATUSZYK, PETER NENCINI, GAVIN WADE, CLARA WASSAK, NÚRIA PLA CID AND SHENGTAO ZHUANG [81] UPCYCLED KATIE EVANS [89] IS IT A COINCIDENCE THAT…? SUI-KI LAW [97] I CAN’T SPEAK WITH A WEAPON DAVID BENQUÉ[105]ENTITIES OF INTEREST; DIAGRAMS AND OSCILLATIONS CHI KIT CHAN[111] ALGORITHMIC PHYSIOGNOMY CLARA WASSAK[117]TOPOGRAPHIA INTER ORBIS SHENGTAO ZHUANG[123]TING[—] XI NING[125] WE STILL DON’T KNOW WHAT[—] JAYA MODI [130]E.A.T: EVOLUTION, AESTHETICS, TECHNOLOGY RUIQING CAO[135]TRANSFORMING CONCRETE[—] COLM MCDERMOTT[145]THE DELICATE CREATION OF MISINFORMATION KATIE EVANS AND GABRIELA MATUSZYK [149] BC: FR ANCISCO LARANJO INTERVIEW MATTHEW STADLER [154](EXTRACT) WHAT IS PUBLICATION STUDIO? PAUL BAILEY AND MATTHEW STUART [163] MANIFESTING PERSPECTIVES, METAPHORS, DEFINITIONS AND[–] AADHYA BARANWAL AND SOPHIE DEMAY[164] IN SEARCH OF… INTERVIEW A LINE WHICH FORMS A VOLUME ISSN 2515–9801 2 MS PB Three prospectus sayings: ‘our position is ranged-left and There is a normative power to design.
    [Show full text]
  • NEXT 21 MARCH the Creart CITIES AS WELL AS OTHER
    PRESS RELEASE Within the programme of activities of the CreArt project co-funded by the European Commission. NEXT 21st MARCH THE CreArt CITIES AS WELL AS OTHER EUROPEAN CITIES WILL CELEBRATE THE FIRST EDITION OF THE EUROPEAN DAY OF ARTISTIC CREATIVITY, AN INITIATIVE PROMOTED BY THE MEMBERS OF CreArt. NETWORK. OF CITIES FOR ARTISTIC CREATION. Next 21 March, European Day of Artistic Creativity, a lot of initiatives of citizen participation will be developed with the objective of celebrating artistic creativity around Europe. The European Day of Artistic Creativity is a new initiative promoted by CreArt. Network of Cities for Artistic Creation, a cultural cooperation project with the participation of 12 partner cities and insitutions (Aveiro–PT, Kaunas-LT, Kristiansand–NO, Linz–AT, Stichting id11– NL, Genoa-IT, Lecce–IT, Harghita–RO, Pardubice–CZ, Arad–RO, Vilnius-LT, and Valladolid–ES) within the framework of the Culture Programe of the European Commission. “As members of the CreArt project, we are aware of the importance of promoting creativity as one of the basic elements of individual development and of the creation of a European identity. Our aim is to celebrate one day a year, and at a European level, artistic creativity in all Europe, with open activities in museums, public and private cultural institutions, visual arts centres, art schools, galleries, schools, etc. We would also like to witness artists and public interaction in these centres and cities, communicating through the language of art and creativity. The European Day for Artistic Creativity will also become the springboard for new, original and necessary ideas, aimed at the general public, professionals and institutions”.
    [Show full text]