SUPERIOR DE DESIGN
The scope of the conference is to evaluate the links between the cultural
heritage and the projectual culture. It will be focused on rewriting the
idea of Material Culture. This concept, discharged from its materialist
stigmata, is useful to understand broad frameworks that links Science,
Art and Design. All contributions in those areas are welcome.
The following themes are just suggestions. The reviewing process
will be centred on the quality of the proposals:
Frontal Nudity – inside the work of Art.
Artefacts and works of Art. Hidden frameworks similarity.
Starting from the idea that Techno-objects Art-objects and Science-objects
are result of design processes, admitting that those processes can be described
on a system approach, we are willing to identify common structures, shared
structures, intersectional structures on the production of different “domains”.
From quantified models to non-sense propositions, “dispersive” inside
views of how it works are welcome.
References to Courbet’s “L’Origine du Monde”, being
so obvious, are not allowed.
2> Still Life – changeability and stillness in Art
The process and the history of processes.
Vertical dives on history searching for permanent consistency of relations
between project and art in a cultural background are welcome. Horizontal
overviews linking science production and artefact production can be described
both dynamically and as stable grounds.
Definitions of Art and Design are
3> Landscope – showing and preserving cultural heritage.
Technologies and strategies of Design for the continuous rebirth
of Cultural Heritage.
What terrain will we harvest? Popular Culture absorbed cultural heritage.
From the house of the Muses (a place for inspiration), museums are becoming
happening places competing in the cultural market. New technologies have
placed cultural heritage shoulder by shoulder with pornography, video games,
news, SMS’s, quiz-shows and so on. On the other hand, how technology
is helping us to know more or preserve better cultural heritage? And on
the other foot how contemporary use objects carry the “light” burden
of branding based on cultural heritage?
Papers reporting forest fires are not allowed.