La inclusión del Diseño para la Transición (Irwin, Kosoff y Tonkinwise, 2015) propuesto por la Universidad Carnegie Mellon a nivel de posgrado, en la currícula de la Maestría en Gestión del Diseño UP, ha permitido promover una mirada integral y responsable del diseño en nuestros estudiantes, tendiente a preguntarse sobre las prácticas aprendidas y profesionales instaladas en el campo.

This text presents the proposals advanced in the thematic volume of the Journals from the Center of Design and Communication Studies. Its purpose is to offer different approaches that address educational-digital convergence and that, specifically, deal
with the sphere of books and reading and its intersections with design. Through varying viewpoints, spanning fields associated with issues of reading and writing, like design,
communication, and publishing, as well as related disciplines like anthropology, sociology,
history, literature, and library and educational sciences, among others; and fields more
closely linked with the production and circulation of books in different formats, we introduce a group of topics that constitute challenges when researching convergence.

In this article we introduce both the book and the research perspective in which
it is included. Even though the cultural and design fields are different areas of study, research, and action, they intersect each other, both at the level of concepts and at the level
of practices. As anthropologists, we mainly focus on the concept of culture and discuss its
intersections with the field of design. On the one hand, understanding culture as an active
and disputed process of construction of meanings (Wright 2007), we consider design, in
its different dimensions and manifestations (designs of products, spaces, performing arts, audio-visual arts, communication strategies, etc.), as a field of disputes over perspectives
and practices. Moreover, any design is always developed in a sociocultural framework. On
the other hand, we can analyse the objects, practices and cultural representations considering the design that shapes them, the valuations those designs recreate, modify or sustain,
and the policies that shape them.

Technological advancement is turning our entire experience of contact with the
real world into virtual applications, seems to be relegating industrial design to a practice
only redeemable in its way of operating digital representation devices, and in misty designs
like the design of Experiences or thinking design.
This trend that blurs the scope of the profession is enhanced by the development of new
materials, by the miniaturization to the vacuum of the artifacts and by the estrangement
of the reality that gives us the new way of dwelling in social networks.

Assuming the conditions and opportunities of the moment, this book tries to approach
–from different realities– possible ways of action from and for a discipline committed to
reality, matter and projects.

This prologue presents the institutional relationship’s historicity between
Universidad de Palermo and the Postgraduate Program in Design of the Universidade do
Estado de Minas Gerais. Also present the structure of the publication, with a detail of the
texts of the researchers convened by the Facultad de Diseño y Comunicación.

Cinema is a field of symbolic power in which the discourses prevailing in today’s society are constructed. In this Journal edited by the University of Palermo, the authors propose to analyze the representations of authoritarianism and totalitarianism based on the analysis of a corpus of filmic images of cinematographic and fictional newsreels, which deal with the intersection of cinema / history in relation to its context of production. The films are considered as cultural products that take elements of the symbolic universe
that surrounds them, constituting themselves as constructors and reproducers of social imaginaries.
The various articles presented in this book are established as a laboratory for the reflection of social scientists, who in the task of investigating the future of socio-historical processes today have this inestimable resource that was provided by science and the modern technology. There are multiple perspectives of analysis offered from the perspective of the authors: the cinema as a historical document; the film version of the past; the film as a didactic resource; signifier system, and place of memory and social imaginary, all of them developed and applied to the different films that make up this publication.

Teaching, at all levels and contexts, is a complex practice involving a multiplicity
of components and actions. General Didactics has as an object of knowledge and Projective
Didactics complexes its object from the disciplinary view. However, teaching as a social
practice involves a dimension of a different nature, and is not usually considered with the
depth it deserves depending on its determinant role of objectives, contents and strategies.
The ideological dimension underlies each instance of the process and impacts both the
decision to include a field of knowledge in the academic context, as well as the construction of curricula, the design of subject programs and the planning and implementation of any
proposal for teaching. Reflecting together on this dimension is the axis proposed in this
work, in which the view from different disciplines and academic contexts makes it possible
to delve into the richness and complexity of this perspective of design teaching. 

This Journal has been compilated by the Design Department of the Professional
Institute Santo Tomás of Chile and the Faculty of Design & Communication of the
University of Palermo. Having in mind that at present audiovisual design demands a deep
and global reflection, the articles gathered in this publication make an approach to this
area of design from its different components focusing on its experimental side.

This publication is part of the fifth Thesis Catalog, covering the years 2014 and 2015. The first issue of the Catalog relates to the theses presented in the 2004-2007 period, the second edition covers the 2008-2009 period, the third edition gathers the theses of the 2010 and 2011 and the fourth edition covers those of the 2012-2013 period. The Thesis projects, propose a new approach at the problems of design and fields that intersect with this discipline. Each level of the research aims a deliberate search for knowledge and solutions
to questions that may be cultural and / or educational in the frame of the discipline

The professional and academic fields of design are crossing through deep and
relevant structural changes. These changes are defining new ways in establishing design relationships very far away from the original ways in which these systems were imagined
and conceived and from the effective changes we are willing to produce. In this third
publication in collaboration with Parsons School of Design we will approach different
themes related to those values or practices that were or are being modified at present and
whose changes become evident through art and design. In the scope of this scenario we
propose a reflection about this topic.

During recent years, the Faculty of Design and Communication has worked on various proposals and projects aimed at systematizing the Faculty´s research activity. The Research Program is composed of four possibilities of participation: Pedagogic Activities Projects, Professional Issues Projects, Disciplinary Research Projects,
Postgraduate Projects. This journal is part of the first Research Catalogue, summarizing the areas of research, development and creation, articulated in large thematic lines, from 2012 to 2015.

The publication gathers several essays that reflect about the documentary
in the scope of contemporary audiovisual production. Different authors propose to
think documentaries as an environment of productive thinking that in colaboration
with the main theoretical discourses have created several hybrid productions that
challenge contemporary epistemologic categories. Each article in its own way explores
the relationship between documentary essence and the different fields of culture:
antropologhy, politics participation, psicoanalysis, technology, semiology and discourse
theories, different aesthetic traditions that approaches visual arts, and cinema history,
These different perspectives help to build a particular vision about tradition, technique
and style of this particular way to see this world called documentary.

We present here the proposals of Cuadernos del Centro de Estudios en Diseño y Comunicación thematic volume. It is dedicated to study the relationship between writing and image in its different contemporary expressions. According to this, the particular conditions and transformations of the last decades are described here. All of them related to the exhaustion of the compartmentalized conception of culture. Instead, the artistic production is linked, more and more, with articulations, conjunctions and confluences
of different areas and formats. Two aspects drive these circumstances: on one hand, the development and wide dissemination of new technology; on the other hand, the blurring of the strict distinction –typical of the 20th century– between traditional scenarios and massive and popular ones in the cultural area. A new framework to rethink the link between writing and image are encouraged for those conditions named above. At the same time, they underline multiples relations, reversible and diversified: translocations,
reconversions and fluidity between both terms.

This Journal gathers academic papers produced by experts in Latin American art history, cinema and latin american literature. In their articles the authors approach poetics and readings in Latin American art from multiple points of view focusing in the categories of appropiation, rupture and continuity

El presente cuaderno resulta de las disquisiciones surgidas durante el coloquio internacional “Fronteras & Migraciones” convocado por Retina Internacional que se realizara en la Facultad de Diseño y Comunicación de la Universidad de Palermo. Los ensayos comprendidos en esta compilación se adentran en el análisis de los fenómenos originados en torno a un amplio concepto de frontera y a las características particulares de las migraciones. Confluyen así ideas y ópticas sobre su impacto en la subjetividad y sobre cómo la experiencia estética se hace cargo de interrogar, de revelar los pliegues y los intersticios de las distintas manifestaciones asociadas.

The Journal exposes the conclusions that emerged from the international
colloquium “Borders & Migrations” that was organized by Retina International and was
held at the Faculty of Design and Communications of the University of Palermo. The
essays gathered in this publication explore in the analysis of the different phenomena
that arise from a wide concept of border and from the particularities of migrations. Ideas
and approaches converge about the impact on subjectivity and about how the aesthetic
experience is able to ask, to reveal the folds and interstices of the different associated
manifestations.

The twentieth century has been a period of deep and quick changes, a time of
great tragedies whose consequences were felt worldwide. Boom periods alternated with
economic depression and austerity, and those fluctuations influenced all areas of life, had
an impact on customs and altered the rhythm of societies. In each of these steps, society
was transformed along with its customs and values. New cultural expressions tried to
channel the anxieties and researches at every moment and the correlation of these flows
was also expressed in fashion. To think about fashion in the twentieth century implies the
reflection about the body, the society and its changes; it implies also “to read” technological
changes and its counterpart in the culture in the light of the diverse manifestations that
operate at all levels of daily life; to think about fashion is thinking about dress codes
that express the values and idiosyncrasies of each historical moment and is to think of
ourselves and how we want others to see us.
This Journal is intended to analyze some aspects of the reality of the twentieth century, to
discover the social relations around fashion, its production and reproduction.

This Journal designed and coordinated by Julio César Goyes Narváez –National
University of Colombia– and Alejandra Niedermaier –University of Palermo, Argentina–
addresses the problem of the image poetics which is understood as the shelter of the
cognitive, the operational and the epistemological that accounts for the practices and
processes of the visual image and the new regimes that generate the field of significance and
meaning. From there it goes into the emerging and necessary pedagogies that the image
itself requests. Pedagogies that serve the imagers but primarily concerned with the training
of actors aware of the complex cultural and social variables that inhabit in the visual.

This publication is part of the fourth Thesis Catalog, covering the years 2012
and 2013. The first issue relates to the thesis presented in the 2004-2007 cycle, the second
edition of the 2008-2009 cycle and the third edition of the 2010-2011 which also have
different issues with discipline foundation and high academic scientific methodology. The
articulation of all thesis projects, shows the extensive skilled scientific work proposed in
the Master. Each of the levels of research work on the final outcome of the project, proposes a deliberate search for knowledge and solutions to problems that may be of a cultural
and / or educational discipline.

This short essay prefaces the edition of this present Journal. Our intention was
to reflect on the image and its importance in communication, social image constructions
and culture, for which we focus on the relationship between image and: photography, cinema, memory, music, identity , gender, social networks, color and power relations. There
will be intense reflections, by converging moments together while deeply divergent, therefore the discussion “between the lines” reign in the publication. Finally, this number
suggests thinking breaklines and speak from the opening with the intention of promoting
debates and opinions about the role of the image in relation ultimately, with humanity.

This Journal of the Center for Studies in Design and Communication, Faculty
of Design and Communication at the University of Palermo, Argentina –Interpreting XXI
century design thinking– corresponds to the joint second-publishing project with Parsons
The New School for Design, one of the most prestigious educational institutions dedicated
to the teaching of Design, based in New York, USA. The theme developed in this Journal
explores in the social, economic, educational and anthropological aspects of today's
society to visualize possible future scenarios that will define both design functions and
the profile of the students who will be inserted in that field. Eighteen authors, seven from
the U.S.A. and eleven from Argentina, recognized academics and professionals, addressing
the problem through the eyes of their own specific discipline. The articles deep into the
context of fashion design and analyze the problem under the gaze of sociology, interior
design, ecology, fashion design, photography, advertising, art and pedagogy.

This journal gathers the articles of several authors who analyze the particular universe of video-art through different approaches. On one hand, they reflect on the creation and production of this artistic movement known as video-art where the role played by the actor, in a media whose structure is based on the absence of narrative, affects the particular narrative cinema dramatic function; and considering that the spectator’s place also radically changes. In addition, the journal poses the particular relationship between the concept of staging, space and body in video-art, from the reflection of some contemporary video artists. On the other hand, the authors conduct a historical approach on video-art from its relationship with the artistic, historical and cinematographic vanguards, as well as its close relationship with the experimental cinema of the 60s and 70s. Another approach developed by the authors is based on the unique characteristics of video-art in the cultural field by analyzing their genealogy and reflecting on their current situation, as well as the possibilities in the field of university education to the analysis of
video-art as a teaching tool. Finally, we reflect on the possibility of creating video-art archives considering the changes brought by digital technologies and the Internet circulation of audiovisual material.

Before analyzing the processes of project management, we have to explore
What is the concept of culture from which we work? What are the dimensions of the
cultural sphere? These ideas are part of the reflections that define the set of values and wills
to development and realization in action. In this article, we address the management and
the design of sustainable cultural projects with a long term vision, defined as a collective,
shared and transformative tool that realizes our identity.

This prologue is intended to address the essays gathered in this publication from two axes: 1) The problem of identity in novice writers-directors, 2) The phenomenon of mediation and intermediality in present enterteinment shows. In this part we propose the analysis of each of the concepts developed by the authors, who show different perspectives: the approach of both the academic critic and the stage manager.

This issue of the Journal of the Center of Design and Communication Studies in the Faculty of Design and Communication at the University of Palermo, gathers lucid and competent reflections from academics and professionals from different Latin American countries on the present and future of Design and Communications. This particular publication is the result of the exchange of glances, reflections and conclusions expressed by fellow academics and professionals in the Latin American Congress of Design Education, that the University of Palermo organized annually in the Latin American Design Meeting. We have gathered in this issue the critical view of authors from Mexico, Brazil and Argentina.
The publication organizes its contents in four axes: 1) The disciplinary field of design. Perspectives and approaches, 2) About design education: critical reflections and practical applications, 3) Models approach to scope; 4) Creative industries and cultural context and new paradigms. The contents of this book have been coordinated by Nora A. Morales Zaragoza Autonomous Metropolitan University, Cuajimalpa, Mexico and Maria Elena Onofre, University of Palermo, Argentina.