Talks by Pedro Soares Neves
Panel discussing the possibilities of - and challenges to - establishing formal research centers ... more Panel discussing the possibilities of - and challenges to - establishing formal research centers and institutes dedicated to the critical study of street art and urban creativity.
SHiFT 2008 Lisbon
This theme comes from the idea that the World Wide Web ( and declinations such as web 2.0) grows ... more This theme comes from the idea that the World Wide Web ( and declinations such as web 2.0) grows and develops itself in the base of the user-generated content. The term coined by Marshall McLuhan and Barrington Nevitt, the "prosumer" addresses behaviors that are not new, in reality, to both produce and consume, or create and use, are inherent practices to the human condition.
For example, the urban space, have traces, indices, testimonies of usage that are the living proof of the lack of possibility for rapid and easy going participation in the construction of our environments. In the so-called "web 2.0", the platforms give space for some liberty of content production, as in the city the streets give space for freedom (within some rules, laws).
Thus to design the User Experience (UX), encompasses both the design of a webpage and the design of the streets. A relevant factor is that they have both in common the creation of environments for free participation, as platforms for co-creation (within some boundaries).
There's much to be done and explore regarding the extent of UX as something that goes way beyond the screen. This presentation addressed the specificity of UX on it's relation to services or products that are designed to be adapted by the user, with particular focus to the present day challenge of the city as a human artifact that urgently needs to be environmentaly positive.
Papers by Pedro Soares Neves
Open Call - Last days for receiving abstracts to discuss topics, research tools and methodologies... more Open Call - Last days for receiving abstracts to discuss topics, research tools and methodologies used in advanced studies of the theme "Street & Urban Creativity". Deadline 1st of February 2015!
Abstracts, 700 words, submission to:
[email protected]
Check Urbancreativity.org for more info.
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Editorial Notes abstract soon !
in: Urban Creativity Experience, Creative experiences in Contemporary Cities, Editorial Lemo, Ko... more in: Urban Creativity Experience, Creative experiences in Contemporary Cities, Editorial Lemo, Kognitif, Spain, ISBN:978-84-941154-3-1
The present article arises in the context of an urban rehabilitation process which took place in ... more The present article arises in the context of an urban rehabilitation process which took place in Bairro Alto, a neighbourhood in Lisbon. This process, which was set in movement in July of the year 2008, aimed, amongst other things, to re-establish a visual uniformity of the public surfaces that both integrate and delimitate this specific area. Indeed, for more than two decades, a variety of non-regulated and non-commissioned personal and visual expressions multiplied and were gradually rejected by the local actors.
Having a durable rehabilitation as objective, the city council had the need to identify, preserve and promote the quality of some of these visual expressions whose authors are internationally recognised by credited contemporary art institutions such as the Tate Modern Museum, the Cartier Foundation, and so on.
This being, the definition of the theme in analysis, that is, “Urban Art”, is clarified through a chronological summary of the terms' applications. Given the complexity of the term itself only the relevant aspects of its definition to this paper are here presented.
The analysis methods adopted are those which are generally applied to analyse the characteristics of public spaces and here identified to be useful to analyse “Urban Art”
Antes de mais será importante deixar clara a interpretação da imagem como sendo meramente represe... more Antes de mais será importante deixar clara a interpretação da imagem como sendo meramente representativa de um fenómeno muito mais vasto do aparentemente possamos supor. Na realidade Banksy (o autor da intervenção) é a ponta face visivel de um grande iceberg que na sua profundidade a todos nos diz respeito. Assim servirá de exemplo para um fenómeno que aqui designarei de intervenções gráficas informais e espontâneas, fenómeno este que engloba muitas formas de intervenção para alem do tipo especifico em causa.
Parece-me interessante observar que as intervenções gráficas informais e espontâneas, do ponto de vista das contribuições de Berlyne para a psicologia ambiental. Estas manifestações são de facto indissociáveis da necessidade de exploração do meio ambiente, para alem de conterem em si as propriedades do ambiente (colativas) identificadas por Berlyne.
A pertinência desta análise liga-se com a necessidade de implicação do Homem com o seu ambiente, ou seja pretende relevar os aspectos psico-ambientais que justificam a existência e pertinência deste tipo de intervenções. A suspeita será de que surgem e “alimentam-se” de uma procura “instintiva” subjacente a "mecanismos de sobrevivência", logo são componente integrante da natureza humana, factor a ter em consideração como tal quando se projectam/ desenham meios ambientes de forte exposição a estas características (espaços públicos, colectivos urbanos).
The urban art expression gather two beautiful (but difficult to define) words, art and city. Betw... more The urban art expression gather two beautiful (but difficult to define) words, art and city. Between the “draw” the city and “draw” in the city, according with times1. Always not pretentious art, more connected with the craft (arts & crafts) of doing things well done not so much to the classical arts, academic conservative fields, galleries and museums, places were it disappears as it is and starts being other thing (for example: Popart2).
The designation “informal graphic appropriation”, reach a broad range of forms and intentions that are expressed in the urban environment (public/ collective space) typical by their mainly visual and non authorized components.
This are for example: not understandable scribbles, signatures (tags) or colorful graffiti pieces, small stickers or big pieces of paper glued to advertise some chimney cleaning, circus billboards or of the next rock mega concert, stencil from the most famous street art artists of the world, to the simple and anonymous love declarations, all competes for visibility, side by side with lots of other “authorized” forms of communication (advertisement, public art, etc...).
In definitive, the “informal graphic appropriation” practice, can be seen as simple search of visibility. Trying to call “the attention” of the city user to something that wants to be communicated in a non authorized form.
In this article (after the due contextualizations), it's given the overview of how in Lisbon the management processes of this phenomenons had been evolving, giving space or retracting in a more or less coordinated way, as a kind of “meta” project (Urban Art Gallery and Lab, project CRONO, among other). In the end there are taken some considerations about the usage of the gathered experience in other contexts (cities, municipalities, neighborhoods, etc...).
Presentation
Fontys University of Applied Sciences / Fine and Performing Arts
Tilburg, The Neth... more Presentation
Fontys University of Applied Sciences / Fine and Performing Arts
Tilburg, The Netherlands
17th of January 2018
Performing Public Space
Impact of Artistic Interventions
in Public Space
Pedro Soares Neves
[email protected]
Após a minha licenciatura em Design gráfico (IADE Lisboa, 2000) prossegui os meus estudos ao dese... more Após a minha licenciatura em Design gráfico (IADE Lisboa, 2000) prossegui os meus estudos ao desenvolver uma pós graduação em Design Urbano (CPD Lisboa, 2003).
Posteriormente decidi aprofundar os conhecimentos em torno do tema da participação, inscrevi-me no Master PISM (Master internazionale in Progettazione Interattiva Sostenibile e Multimedialità) que durou 2 anos (2004-2005), em Roma.
Irei aqui partilhar, em traços gerais, as metodologias adoptadas neste Master, descrevendo a formalização e iniciativas práticas e teóricas mais relevantes no seu contexto, especificmente Visioning, Pattern Language e Strategic Choice.
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Talks by Pedro Soares Neves
For example, the urban space, have traces, indices, testimonies of usage that are the living proof of the lack of possibility for rapid and easy going participation in the construction of our environments. In the so-called "web 2.0", the platforms give space for some liberty of content production, as in the city the streets give space for freedom (within some rules, laws).
Thus to design the User Experience (UX), encompasses both the design of a webpage and the design of the streets. A relevant factor is that they have both in common the creation of environments for free participation, as platforms for co-creation (within some boundaries).
There's much to be done and explore regarding the extent of UX as something that goes way beyond the screen. This presentation addressed the specificity of UX on it's relation to services or products that are designed to be adapted by the user, with particular focus to the present day challenge of the city as a human artifact that urgently needs to be environmentaly positive.
Papers by Pedro Soares Neves
Abstracts, 700 words, submission to:
[email protected]
Check Urbancreativity.org for more info.
--------
Editorial Notes abstract soon !
Having a durable rehabilitation as objective, the city council had the need to identify, preserve and promote the quality of some of these visual expressions whose authors are internationally recognised by credited contemporary art institutions such as the Tate Modern Museum, the Cartier Foundation, and so on.
This being, the definition of the theme in analysis, that is, “Urban Art”, is clarified through a chronological summary of the terms' applications. Given the complexity of the term itself only the relevant aspects of its definition to this paper are here presented.
The analysis methods adopted are those which are generally applied to analyse the characteristics of public spaces and here identified to be useful to analyse “Urban Art”
Parece-me interessante observar que as intervenções gráficas informais e espontâneas, do ponto de vista das contribuições de Berlyne para a psicologia ambiental. Estas manifestações são de facto indissociáveis da necessidade de exploração do meio ambiente, para alem de conterem em si as propriedades do ambiente (colativas) identificadas por Berlyne.
A pertinência desta análise liga-se com a necessidade de implicação do Homem com o seu ambiente, ou seja pretende relevar os aspectos psico-ambientais que justificam a existência e pertinência deste tipo de intervenções. A suspeita será de que surgem e “alimentam-se” de uma procura “instintiva” subjacente a "mecanismos de sobrevivência", logo são componente integrante da natureza humana, factor a ter em consideração como tal quando se projectam/ desenham meios ambientes de forte exposição a estas características (espaços públicos, colectivos urbanos).
The designation “informal graphic appropriation”, reach a broad range of forms and intentions that are expressed in the urban environment (public/ collective space) typical by their mainly visual and non authorized components.
This are for example: not understandable scribbles, signatures (tags) or colorful graffiti pieces, small stickers or big pieces of paper glued to advertise some chimney cleaning, circus billboards or of the next rock mega concert, stencil from the most famous street art artists of the world, to the simple and anonymous love declarations, all competes for visibility, side by side with lots of other “authorized” forms of communication (advertisement, public art, etc...).
In definitive, the “informal graphic appropriation” practice, can be seen as simple search of visibility. Trying to call “the attention” of the city user to something that wants to be communicated in a non authorized form.
In this article (after the due contextualizations), it's given the overview of how in Lisbon the management processes of this phenomenons had been evolving, giving space or retracting in a more or less coordinated way, as a kind of “meta” project (Urban Art Gallery and Lab, project CRONO, among other). In the end there are taken some considerations about the usage of the gathered experience in other contexts (cities, municipalities, neighborhoods, etc...).
Fontys University of Applied Sciences / Fine and Performing Arts
Tilburg, The Netherlands
17th of January 2018
Performing Public Space
Impact of Artistic Interventions
in Public Space
Pedro Soares Neves
[email protected]
Posteriormente decidi aprofundar os conhecimentos em torno do tema da participação, inscrevi-me no Master PISM (Master internazionale in Progettazione Interattiva Sostenibile e Multimedialità) que durou 2 anos (2004-2005), em Roma.
Irei aqui partilhar, em traços gerais, as metodologias adoptadas neste Master, descrevendo a formalização e iniciativas práticas e teóricas mais relevantes no seu contexto, especificmente Visioning, Pattern Language e Strategic Choice.
For example, the urban space, have traces, indices, testimonies of usage that are the living proof of the lack of possibility for rapid and easy going participation in the construction of our environments. In the so-called "web 2.0", the platforms give space for some liberty of content production, as in the city the streets give space for freedom (within some rules, laws).
Thus to design the User Experience (UX), encompasses both the design of a webpage and the design of the streets. A relevant factor is that they have both in common the creation of environments for free participation, as platforms for co-creation (within some boundaries).
There's much to be done and explore regarding the extent of UX as something that goes way beyond the screen. This presentation addressed the specificity of UX on it's relation to services or products that are designed to be adapted by the user, with particular focus to the present day challenge of the city as a human artifact that urgently needs to be environmentaly positive.
Abstracts, 700 words, submission to:
[email protected]
Check Urbancreativity.org for more info.
--------
Editorial Notes abstract soon !
Having a durable rehabilitation as objective, the city council had the need to identify, preserve and promote the quality of some of these visual expressions whose authors are internationally recognised by credited contemporary art institutions such as the Tate Modern Museum, the Cartier Foundation, and so on.
This being, the definition of the theme in analysis, that is, “Urban Art”, is clarified through a chronological summary of the terms' applications. Given the complexity of the term itself only the relevant aspects of its definition to this paper are here presented.
The analysis methods adopted are those which are generally applied to analyse the characteristics of public spaces and here identified to be useful to analyse “Urban Art”
Parece-me interessante observar que as intervenções gráficas informais e espontâneas, do ponto de vista das contribuições de Berlyne para a psicologia ambiental. Estas manifestações são de facto indissociáveis da necessidade de exploração do meio ambiente, para alem de conterem em si as propriedades do ambiente (colativas) identificadas por Berlyne.
A pertinência desta análise liga-se com a necessidade de implicação do Homem com o seu ambiente, ou seja pretende relevar os aspectos psico-ambientais que justificam a existência e pertinência deste tipo de intervenções. A suspeita será de que surgem e “alimentam-se” de uma procura “instintiva” subjacente a "mecanismos de sobrevivência", logo são componente integrante da natureza humana, factor a ter em consideração como tal quando se projectam/ desenham meios ambientes de forte exposição a estas características (espaços públicos, colectivos urbanos).
The designation “informal graphic appropriation”, reach a broad range of forms and intentions that are expressed in the urban environment (public/ collective space) typical by their mainly visual and non authorized components.
This are for example: not understandable scribbles, signatures (tags) or colorful graffiti pieces, small stickers or big pieces of paper glued to advertise some chimney cleaning, circus billboards or of the next rock mega concert, stencil from the most famous street art artists of the world, to the simple and anonymous love declarations, all competes for visibility, side by side with lots of other “authorized” forms of communication (advertisement, public art, etc...).
In definitive, the “informal graphic appropriation” practice, can be seen as simple search of visibility. Trying to call “the attention” of the city user to something that wants to be communicated in a non authorized form.
In this article (after the due contextualizations), it's given the overview of how in Lisbon the management processes of this phenomenons had been evolving, giving space or retracting in a more or less coordinated way, as a kind of “meta” project (Urban Art Gallery and Lab, project CRONO, among other). In the end there are taken some considerations about the usage of the gathered experience in other contexts (cities, municipalities, neighborhoods, etc...).
Fontys University of Applied Sciences / Fine and Performing Arts
Tilburg, The Netherlands
17th of January 2018
Performing Public Space
Impact of Artistic Interventions
in Public Space
Pedro Soares Neves
[email protected]
Posteriormente decidi aprofundar os conhecimentos em torno do tema da participação, inscrevi-me no Master PISM (Master internazionale in Progettazione Interattiva Sostenibile e Multimedialità) que durou 2 anos (2004-2005), em Roma.
Irei aqui partilhar, em traços gerais, as metodologias adoptadas neste Master, descrevendo a formalização e iniciativas práticas e teóricas mais relevantes no seu contexto, especificmente Visioning, Pattern Language e Strategic Choice.