"The images that mobilize conscience are always
linked to a given historical situation. The more general they are, the less likely
they are to be effective."
The program of this semester's course and the main topics it presented aimed to define a conceptual territory that would motivate the students in the search for a project development of a social and cultural affirmation contemporary space.
The readings and reflections proposed in this semester demanded the necessary critical understanding of the different social, political
and cultural realities of the second half of the twentieth century. That being so, we were able
to consolidate a broad perception of the "state of the world" we belong to.
The historic conscience of the world we live
in consists of the result of reading the "signs of time". Word, image and their infinite meaningful powers constitute these signs, and together with other graphic expressions, they are assumed
as narrative instruments.1
The typographic word, the instant captured in a photograph, the time memorized in video frames, and of course, literature, cinema and all artistic expressions are none other than 'proofs of contact' established with reality, and allow us to situate ourselves spatially and secularly.
A series of political, social, cultural and artistic events and scenarios occurred between
the '60s and the '80s of the twentieth century.
The Ultravox project was associated to a series of themes and metaphors, and it aimed to explore the role of the designer as an editor, research coordinator, selector and presenter of contents. With the results of the researches elaborated by the students, a periodic publication was projected in the form of a multimedia magazine (assuming the periodic publication Aspen, "The multimedia magazine-in-a-box" as one example of these multidimensional formats) that would approach each of the selected themes and metaphors
through the use of both direct references such
as press, photography, documents, among others, and contextual and fictional references such as literature, cinema, arts in general, etc. This allowed the students to develop a layout rich on solutions, conceptually and formally.
"Reality can be experienced as a "spectacle" of images, accessible every morning in the newspaper and at any time on a screen."
 Research Dossier;
 Screen: Audiovisual Medium.
1 "Images and graphics are necessary, but not as decoration. They are narrative tools.", Javier Errea (2010), "Visual language", Turning Pages, Berlim: Gestalten.
2 The Aspen multimedia magazine was published by Phylis Johnson between 1965 and 1971, in the United States of America. Each issue obliged to a specific theme, which offered a title and a graphic form to usually,
a box, among other types of containers, that enclosed a series of materials from posters to audio and video recordings, postcards, manifests, etc.