International Journal of Film and Media Arts, Vol. 6, Nº. 1 (2021)
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Item Designerly modus of wandering and shared film creation in “Corpos Palimpsésticos" : artistic creations in times of socio-affective contingencies(Lusofona University, 2021) Almeida, Flávio; Ferraz, Renata; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação“Corpos Palimps sticos”1 emerged in 2020, in a moment of worldwide pandemic due to Covid-19 and because of the end of our relationship as lovers. Soon after our separation, and thanks to the call for proposals of the Residency Program “Residências em Residências Circolando / Central Elétrica 2020 – FASE 2”, the idea of mourning the separation through a creative gesture was born. The fruition of artistic objects in their physical places has been interrupted due to the restriction to people gathering in closed spaces. This new reality has forced artists to rethink the format of their works so they could reach a public that, without the usual places, is now reterritorialized in a digital environment. Thus, the project’s goal was the production of video-performances and the constant online sharing of our creation process. The project had an interdisciplinary approach, and although design and filmmaking were the privileged areas, the work also included text creation, photography, music, and scientific research. We will analyse here existing approaches of creation methods such as co-creation in documentary, art-based research, art thinking and a recontextualization of design thinking in order to reframe these modes of creation in “Corpos Palimps sticos”. By using more than a single methodology, we are interested in a process where our areas of research/creation can dialogue randomly in a non-hierarchical way. Once the residency was over, we systematized the creation process that gave rise to this text. Finally, we created the term “Designerly Modus of Wandering” and used the term “Shared Film Creation” of a previous research to base our creative journey in the areas of design and film creation.Item O T H E R V I S U A L : onto the audiovisual cooking(Lusofona University, 2021) Laranjeira, Inês; Mota, João A.; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThis paper inquiries about the kitchen as space of vibrant materiality for representation and agency for art, design and architecture practices. On meeting the challenges posed by the coronavirus pandemic, it is not incidental that the 5th Istanbul Design Biennial curated by Mariana Pestana under the theme “Empathy Revisited: designs for more than one” has chosen the kitchen as a means to create spaces of discourses, exchange and collective reflection. Taking into account Jeffrey and Shaowen Bardzell’s view of “What Is ‘Critical’ about Critical Design?” (2013), this paper surveys the biennial’s programme “The Critical Cooking Show” which presents a digital programme of films, lectures and performances that reimagine the kitchen as a space central to design thinking and production. Deepening our sensibilities as to how criticality occupies design practices, we have to further understand the expanded space of the kitchen and what it really offers to expand the space of design. From the triangulation kitchen, design and process, evidence is searched for bridging process between the fields of kitchen and design following Buchanan’s theory of rethinking placements over categories by way of signs, things, actions and thoughts. Kitchen and design are thus understood as liberal arts disciplines seeking to privilege a placement-based approach to projectual practice where observations on the speculative allow reflections of the self and modes of action. Pallasmaa’s conception of an architecture of the senses, for whom the role of the body is understood as the locus of perception, thought and consciousness, helps explore and convoke the space of kitchen visited by artists and designers throughout recent history, as a means to establish relations between theories, processes, and projectual methodologies in kitchen and design. The reading of the space finds its translation through diverse processes applied by these creators leading to an understanding of a kitchen milieu: process as context. From the interpretation of the empirical work it is suggested that kitchen multiplies design (k x d). It implies that the context of kitchen multiplies the space of the discipline of design, becoming, in Buchanan’s term, a “quasi-subject matter of design thinking”. If so, kitchen as other placements may offer, or are open to receive and edify, an expanded view of the discipline of design. Deepening our sensibilities as to how criticality occupies design practices, we have to further understand the expanded space of the kitchen and what it really offers to expand the space of design. From the triangulation kitchen, design and process, evidence is searched for bridging process between the fields of kitchen and design following Buchanan’s theory of rethinking placements over categories by way of signs, things, actions and thoughts. Kitchen and design are thus understood as liberal arts disciplines seeking to privilege a placement-based approach to projectual practice where observations on the speculative allow reflections of the self and modes of action. Pallasmaa’s conception of an architecture of the senses, for whom the role of the body is understood as the locus of perception, thought and consciousness, helps explore and convoke the space of kitchen visited by artists and designers throughout recent history, as a means to establish relations between theories, processes, and projectual methodologies in kitchen and design. The reading of the space finds its translation through diverse processes applied by these creators leading to an understanding of a kitchen milieu: process as context. From the interpretation of the empirical work it is suggested that kitchen multiplies design (k x d). It implies that the context of kitchen multiplies the space of the discipline of design, becoming, in Buchanan’s term, a “quasi-subject matter of design thinking”. If so, kitchen as other placements may offer, or are open to receive and edify, an expanded view of the discipline of design..Item Techno-animism or the magical existence of technical objects = Tecno-animismo ou a existência mágica de objetos técnicos(Lusofona University, 2021) Fernandes, Manuel Luís Bogalheiro da Rocha; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoSe, por um lado, a noção clássica de artefacto pressupõe objetos inertes e uma confiabilidade entre o usuário e os usos que podem ser extraídos dos objetos, por outro lado, reconhece-se a suspeita de que os objectos técnicos e os seus esquemas operatórios, as máquinas e as suas soluções “artificiais”, encerram em si um carácter inautêntico e adulterador, como se de uma potência própria de astúcia e de engano se tratasse, capaz de, no limite, se emancipar e se processar de forma autónoma, independentemente dos usos e das apreensões que os humanos, seus operadores, possam fazer. O imaginário ocidental da técnica ter-se-á assim constituído sob pressupostos que, a par das leis formais da mecânica ou da matematicidade fria que governa qualquer gramática de códigos, projectaram uma dimensão mágica e especulativa naquilo que de artificial permite manipular a produtividade original da natureza. Com o surgimento das tecnologias digitais e a informatização geral dos artefactos, essa dimensão adquiriu forma naquilo que Philip K. Dick considerou a tendência do tecno-animismo e que, mais tarde, seria materialmente concretizada pela computação ubíqua e pela internet das coisas na era do chamado capitalismo cognitivo. Neste artigo, procuramos abordar o tecno-animismo como uma estética especulativa que, ao projectar uma vida própria nos objectos técnicos, lhes inscreve uma alteridade e uma estranheza que potencia perspectivas para além dos usos e relações habituais que se dão por garantidas e que escondem os objectos, assim como para além das estratégias políticas ou comerciais que os mobilizam. Encantar objetos técnicos é, por um lado, criar uma possibilidade para os suspender dos seus fluxos instrumentais e, por outro, instalar um realismo mágico ou problemático que perturba as articulações de uma realidade mera e exclusivamente humana.Item Design (non) fiction : deconstructing/reconstructing the definitional dualism of A(Lusofona University, 2021) Franziska, Pilling; Lindley, Joseph; Akmal, Haider Ali; Coulton., Paul; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoA Space Odyssey (Kubrick, 1968) speculates on humanities technological ascension through the exploration of space and the ultimate transcendence of humanity galvanised by the invention of AI. Every detail of this portrayal was an exercise in World Building, with careful considerations of then state-of-the-art technology and informed predictions. Kubrick’s speculative vision is comparative to the practice of Design Fiction, by suspending disbelief and leveraging a technologies emergence to question the future’s sociotechnical landscape and its ramifications critically. Discovery’s AI system, Hal9000, is a convincing speculation of intelligence with Kubrick’s vision showcasing current and long-term aims in AI research. To this end, Hal9000 uniquely portrays Artificial General Intelligence (AGI) underpinned by visualising ‘narrow’ AI subproblems; thereby, simultaneously highlighting then current research agendas within AI and manifesting them into the aspirational research agenda of human-computer symbiosis. As a result of Kubrick’s mastery in suspending a viewer’s disbelief despite portraying a particular reality for AI, and humanities fascination with artificial life, the term AI simultaneously refers to the grand vision of AGI as well as relating to the contemporary reality of narrow AI. This confusion, along with establishing AI’s ontology, are current challenges that need addressing to create effective and acceptable realisations of AI. This paper responds to the ontological confusion by reviewing and comparing Kubrick’s speculative methodology to the practice of Design Fiction by unpacking Hal9000 as a diegetic prototype while defining the active threads of ‘AI’s Definitional Dualism’. The paper will also present a Design Fiction submerged in the reality of narrow AI and the adoption of a More-Than Human Centred Design approach to address the complexity of AI’s ontology in alternative ways. Finally, this paper will also define the importance of researching the semantics of AI technology and how film and Design Fiction offer a discursive space for design research to transpire.Item Re-entangling design and science fiction : the case of Daleko(Lusofona University, 2021) Luersen, Eduardo Harry; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThe present article discusses how speculative design relates to technoscientific extrapolation, an important science fiction feature, to plan for potential scenarios and prototype viable models of futurity. Through it, the paper outlines some important nuances between different approaches concerning speculative design’s role, considering their particular epistemological assumptions. A specific case is presented and discussed: Daleko (2020), a project developed for the Strelka Institute’s Terraforming program. This project consists of nine science fiction pieces that entangle issues of waste management, technical infrastructure, and climate politics, discussing the problematic conception of waste as a form of externality and imagining future scenarios for managing it through a more holistic perspective. By analysing Daleko’s approach to speculative design, in its final section the article suggests further developing speculative projects in contexts of design education. This would serve towards stimulating designers to ponder how their craft relates to anthropogenic impact and how it can play a decisive role in prospecting more viable future scenarios.