Ana Rodríguez-Granell participates with the article “Del Expresionismo a la Revolución: fundamentos estéticos y políticos de la Räterepublik (1918-1919)” in Aisthesis nº 63.
This article aims to expose the links between the aesthetic ideas of German Romanticism and the political discourse of the Bavarian Revolution of November 1918. By examining the process of politicization of the expressionist movement, we will see how concepts originated from Nietzschean philosophy or romantic mysticism were incorporated into the philoanarchist thought of the Räterepublik, in order to paradoxically overcome utopian strata and bring to praxis their alternative left wing social project. Thus, we will try to insert the discourses of Kurt Eisner, Erich Müsahm or Gustav Landauer in the debate on the modern dialectic and the critic to enlightened reason.
Aida Sánchez de Serdio Martín publishes “Alone in Paradise? History as a Way of Building a Debate and Learning Community in Collaborative Arts Practices” (2018). E. Turney (ed.) Learning in Public. Transeuropean Collaborations in Socially Engaged Art. pp. 52 – 59. Dublin: Create and Live Art Development Agency. ISBN 978-0-9935611-7-7.
Aida Sánchez de Serdio Martín participates with “Labour” (2018) in Z. Badovinac, J. Carrillo y B. Piskur (eds.) Glossary of common knowledge. pp. 189 – 192. Ljubljana: Moderna Galerija + Museum of Modern Art Ljubljana. ISBN 978-961-206-132-6.
Aida Sánchez de Serdio Martín publishes “Pedadgogies of Encounter. Introduction” and “Archiving and Collecting Relationships. Introduction” (2018) in John Byrne; Elinor Morgan; November Paynter; Aida Sánchez de Serdio Martín; Adela Zeleznik. The constituent museum. Constellations of Knowledge, Politics and mediation. pp. 154-157 & 292-295, Amsterdam: Valiz y L’Internationale, 2018. ISBN 978-94-92095-42-8.
Pau Waelder publishes “Memory Lane“, a text for the exposition of the same title by the artist Felix Luque at the Espacio Fundación Telefónica (Lima, Perú)
Memory Lane starts from an exploration of childhood and youth memories of Félix Luque and Íñigo Bilbao on the coasts of Ribadesella and Llanes (Asturias), which translates into a digitalization of forests, beaches and rocks using 3D scanning technologies. Through digital devices they obtain an enormously detailed reproduction of those places and at the same time a ghostly, distant and incomplete image, which gradually becomes a fiction. Together with Damien Gernay, the three artists elaborate a particular imitation of nature, in which it is simultaneously captured with the greatest precision allowed by current technology and converted into something consciously artificial.
The sculptural work and the physical presence of the pieces acquire a particular importance, since they show us how artists, by converting nature into data, have been able to recreate it according to their own parameters. 3D modeling software, numerically controlled CNC (CNC) milling machines and the robotic and electronic systems they have built give them the ability to create an entirely different reality.
As a whole, the pieces that are part of this project elaborate a fiction with consciously implausible elements that start from real places, with a deep meaning for artists, but they are abstracted to the point of configuring a parallel reality, with a language and a specific behaviors, which no longer belong as much to the humans who have imagined them as to the machines that have shaped them.
Aida Sánchez de Serdio Martín participates with “Confianza” (2018). Hablarenarte (eds.) Glosario imposible. pp. 113-123. Madrid: hablarenarte. ISBN 978-84-697-9168-4.
Glosario imposible is an editorial project of hablarenarte, which accompanies the CAPP project until 2018. The compendium of the current printed edition of 2018 is made up of ten chapters. In June 2016 we presented a first digital edition with texts and interviews about the terms: agents, autonomy, authorship, context, collaboration, work and return. This material forms the basis of this edition in which some contents of the digital version have been modified, as well as including the new concepts: key trust, failure and institution.
Susanna Tesconi publishes in UTE Revista de Ciències de l’Educació.
Tesconi, S. (2017). Teacher Training in making through the co-design of learning environments. Universitas Tarraconensis. Revista de Ciències de l’Educació, 1(2), 6–17. Tesconi, S., & Arias, L. (2015).
Susanna Tesconi & Lucía Arias, L participates with “El Lab como recurso educativo” in J. Perez de Lama Halcon, E. Vasquez Vicente, & N. Vasquez Carretero, Machines of loving grace (pp. 102-109). Sevilla: Escuela Tecnica Superior de Arquitectura. ISBN 978-84-945726-2-3.
Susanna Tesconi, contributes in Deconstruyendo el Manifiesto Maker. Barcelona: Ed. Transit Projectes. ISBN 974-84-697-3041-6, with “Participar”.
Susanna Tesconi publishes “The transformative potential of making in teacher education: A case study on teacher training through making and prototyping. Lecture Notes in Computer Science” (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics) (Vol. 9189).
The paper describes an ongoing research on teacher education for the implementation of making and digital fabrication in educational settings taking part at LABoral Art Centre, Spain. It aims to define key points and indications for the design of learning environments for teachers through making and prototyping in the context of an art centre as an open education lab. We present a qualitative instrumental case study articulated around two dimensions: the analysis of the context of the art centre, and the design of two teaching education programs. The analysis of LABoral context aims to explore the potentiality of an open lab and its related community as a learning environment for teacher education. The study of the teaching education programs is set to define the principles in order to put forward a proposal for the design of a learning environment for teacher education in making.