Yaiza Bocos and Guim Espelt, two graduates of the University Master's Degree in Research in Art and Design (MURAD) and doctoral students of the Research in Design and Art track at EINA, attached to the Doctoral Programme in Philosophy at the UAB, will present their theses:
→ Yaiza Bocos: "Comer: de la sensación al lenguaje", directed by Dr. Gerard Vilar. Friday, 8 July at 11 am in Room 8 at EINA Sentmenat. The presentation can be viewed by zoom through this link.
→ Guim Espelt: “El diseño a través del cine: Una aproximación cinetnográfica a la práctica y el discurso del diseño de producto”, directed by Dr. David Casacuberta and Dr. Ramon Faura. Friday, 15 July at 11 am at the EINA Sentmenat Auditorium.
Yaiza Bocos: "Comer: de la sensación al lenguaje"
In the context of the artification of cuisine, this research focuses on the role of the diner. Some of the innovations of Nouvelle Cuisine, intensified by techno-emotional cuisine, help to consider the diner as a spectator and give rise to a theory of the art of eating. However, by assuming the body as the medium of representation, the gustatory conditions can hardly be explained. The limits of hylemorphic theory, as pointed out by Simondon, prevent a consideration of the process and prevail a disembodied subject who makes use of his body (Agamben) without attending to it. Both in gustatory practices (commensality and conviviality) and in philosophical thought on taste, we detect the cessation of the body by a word committed to this subject. Taste is the excluded origin of aesthetic experience insofar as its 'je ne sais quoi' refers to the border of the definition of the subject whose reason is visual.
From there, the body is the animal background from which to become a figure. A twist on the concept of representation, which defines figuration as an exploration with our body, can show another way in which words participate in the common creation of meaning. The last chapter presents an attempt to let a word be a word of taste, hand in hand with contemporary definitions of body, taste, subject, art and time, among others. Its style considers the analogy between eating and reading (Derrida) and the plasticity of the subject while reading (Malabou). The entire text is accompanied by a repository with more than one hundred works of art that trace the discursive thread of this research.
Guim Espelt: “El diseño a través del cine: Una aproximación cinetnográfica a la práctica y el discurso del diseño de producto”
This thesis proposes an analysis of the representation in cinema of the practice and discourse of product design. The methodological approach is based on the concept of cinetnography, considering everyday fiction feature films as ethnographic documentation, and assesses the films analysed as case studies that can be integrated into the historiography of design.
The impact that films have on the construction of the popular imaginary is a relevant factor, as the fictional narrative affects the way in which the practice of the discipline is explained. This research offers a vision of the image given in the cinema about the design process, about the profile of the designer, about the agents involved in the process, about the discourses and policies that prevail in the sector.
In the written volume, 'To the design room! In cinematic design collage', an audiovisual piece that reconstructs the design process from fragments of the films used for this research.