#REGISTER HERE (FREE)

#FAQ HERE

#Official languages: English, Portuguese, Spanish

About

UD17: NOISEWISE is a doctoral forum, open to all current PhD students as well as recent graduates. The Forum welcomes PhD students and recent graduates from all disciplines who may want to cross their ongoing research with the field of Design - both contributing to it, and/or benefiting from it.

Non-PhD researchers and potential PhD applicants are welcome to submit abstracts to be presented at a round table that will be held for this purpose.

 

We accept submissions in Portuguese, English and Spanish.

 

UD17 aims at fostering the advancement of Design Research from a doctoral perspective: we believe PhD students hold a unique foresight to future developments of the discipline. Additionally, the consolidation of Design Research through doctoral studies will ensure a national and international network beyond individual contexts.

 

UD17 is the sixth edition of the UD conference series, held by ID+/UP/UA since 2012. Visit the previous editions below.

 

UD17 will be followed by FUTUREPLACES X, 18-22 October 2017.

 

#ud17 #noisewise #phddesign

ud17forum@gmail.com

Freedom?

We have made the decision to keep UD17 free of charge: no registration fees, no charges of any kind.

 

This will, of course, translate into a conference with fewer goodies and perks - but we believe it is the right approach among the current zeitgeist. Besides, UD17 wants to focus on intellectual debate, and the quality of this debate will be entirely up to us participants.

 

Fear not: online proceedings, a first-rate venue, tech, coffee breaks and off-hours entertainment programs will still be very much available

Submission + registration

Registration

Guidelines

UD17 conference is free, but the registration is mandatory to all participants, including authors. The register can be made here.

Submission Process

The main goal of UD, a forum specifically dedicated to doctoral design research, is a broad overview of the variety and geometries of ongoing PhD research projects. We are more interested in “the process” than the final results or outcomes.

 

In order to reach this goal, UD17 uses a submission process that aims at stimulating submissions and facilitate feedback to the authors.

Submission step by step

1st Please read this “submission process” and the “guidelines” provided in this section.

 

2nd Submit your short paper using this template, via EasyChair. In order to ensure impartial feedback, please ensure you omit all references to authorship in the actual file.

 

3rd EasyChair will re-direct your short paper to the Scientific Committee, who will provide blind review.

 

4th The Scientific Committee will provide feedback in form of suggestions and/or recommendations to your contribution. You are expected to take those recommendations into account to send the final version of your short paper.

 

5th Given that this is a doctoral research conference, and therefore projects will be at very diverse stages, we do not believe submissions should be rejected; however, papers that do not take the feedback into account on their final versions may not be included in the proceedings.

 

6th Once you submitted the final version of the short paper, it will be included in the program and you are expected to present it at the forum. A Book of Abstracts will be published online in time for the Conference.

 

7th After the Conference, you may be invited by the Scientific Committee to produce a version of your paper for inclusion in a planned UD17 Reader. This version is expected to take into account the Scientific Committee feedback and Conference feedback. The design template provided should be used both for the original submission and the final, revised version.

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# Authors must be currently enrolled in a Doctoral Program, or should have successfully completed their PhD in the previous two academic years.

 

# Non-PhD researchers and potential applicants are welcome to submit abstracts to be presented at a round table that will be held for this purpose.

Please do not use EasyChair if submitting for this round table; email the abstract as an attachment to ud17forum@gmail.com

 

# Please ensure all direct contributors to your paper are included as co-authors; this may include supervisors and/or co-supervisors.

 

# All short papers must be original and not simultaneously submitted to any other journal or conference.

 

# Submissions are accepted in the conference official languages: Portuguese, Spanish and English.

 

# The submission of short papers must be made through EasyChair.

 

  • Title;
  • Abstract (up to 200 words);
  •  Short paper (up to 1500 words);
  • Keywords (up to 5 keywords);
  • Streams/categories (thematic fields);
  • References formatted in APA standard;
  • A representative image of your work.

 

# All submissions are accepted once incorporating the suggestion provided by the Scientific Committee.

 

# Authors are expected to present an oral communication of their short paper during UD17. In case authors don't register or attend UD17, their work will be excluded from the Program and Proceedings.

 

Templates: Portuguese | English |Spanish

 

You can check the current version of the FAQ here.

Statement

Call

The recent and growing ransomware virus trend has been raising the levels of concern for the safety, integrity and accessibility of our information; in one second, the wrong click may wipe out our personal digital heritage once and for all. Yet even more concerning may be the ways in which it has managed to wreak havoc on certain public infrastructures and private core companies: on the May 2017 cyberattack, the UK National Health Service was forced to revert to manual prescription among the infochaos, just as Portuguese emergency services reverted to radio communication as a preventative measure.

 

This sequence of events may be regarded as a manifestation of a broader set of challenges we face nowadays; on one hand, it exposes an ironic frailty at the core of the hyper-complex state of technology we have developed and subscribed to as an unquestionable paradigm. On the other hand, and equally as ironically, it sets a reversion into analogue, even manual procedures, that reveal themselves ultimately more reliable in times of crisis. So much for deterministic progress, then: Brave New World ends up in a black box, and the black box is bursting at the seams, and the black box is encrypted. Now, shall we wait until AI has woven itself effectively into our bodies and we have fully delegated our cognitive and vital functions? In this ever-more-likely scenario, a hacking might just turn out to be the last one.

 

The ransomware trend may also be regarded as a metaphor: for the ways scientific knowledge is often far from openly accessible for the purpose of scientific advancement - and equally a metaphor for the ways in which science seems to be increasingly becoming hostage to agendas, be it financial, political or other. Recent echoes from the US Government voicing its willingness to veto impartial research pertaining to climate change (and elsewhere to withdraw the funding of bodies and projects whose findings do not align themselves with political agendas) are deeply concerning signs when it comes to the continued maintenance and nurturing of the sacred principle of scientific impartiality.

 

Agenda-driven Science is, one may argue, in line with the broader phenomenon of fake news: ultimately unreliable, but more dangerously, ultimately capable of rendering impartial knowledge and information unreliable by association, as one and the other become increasingly harder to tell apart. And this happens in part through an ever-increasing access to ever more powerful design tools. Again, the irony: design sophistication has flattened the authoritative formation (and formality) of content. In a sense, all is noise already; the question is, is this syndrome reversible?

 

On a broader perspective, we may posit that purposeful knowledge is in the process of being neutralised by the sheer magnitude of paradoxical information, the allure of speed betraying our ontological need for depth. Our struggle with this kind of Noise is particularly challenging because it provides a very effective semblance of content - but hardly or rarely a narrative, a context or a canon.

 

Noise is therefore either the endpoint of encryption, or an induced omnipresence (and therefore a uselessness) of meaning.

 

Which brings us to Design Research. A fairly recent endeavour in its scientific ambition, it has been consolidating itself as a discipline both by applying and customising scientific paradigms and methodologies as required by its own field - as well as by making itself available to other disciplines that may benefit from the input of design.

 

The premise of UD17 - noiseWise is that design research may point towards a wide range of contributions, both in the sciences and in civic environments - and we believe these contributions may be able to converge in a shared mission: to ensure, confer and preserve the presence of meaning and purpose among the current state of cognitive volatility.

 

Furthermore, the Humanities and Social Sciences face the challenge of incorporating a critical and interpretative voice that could attempt to regulate and harmonise what at times seems to be an exponential technological development devoid of the sense of its own social or cultural impact: case at hand, the utopia of online connectivity has at some point given way to a neurosis of ubiquitous surveillance and compulsive over-exposure. Yet the party goes on unabated and unchallenged. Make no mistake: this is not a manifesto against technological development, but rather a call for its wise and mindful mediation and incorporation.

 

Could design research lead this process of decipherment and re-centering of current scientific progress? We believe the answer may be in the affirmative: from research that casts light into contemporary communication phenomena, to projects that reveal the dynamics and conflicts between tradition and progress. From pedagogical assets in our relation with technology, to the actual aesthetic and functional betterment of that same technology. From the tangible facilitation of emerging communities to ensuring existing communities avoid the traps of exoticisation and loss of self-determination.

 

More importantly, we believe design research needs to build and maintain bridges with other disciplines if it is to flourish in its own terms, and effectively contribute to that truthful cliché we have all wanted all along as researchers: “A Better World”. And a Better World needs to be built just as it needs to be interpreted, communicated, provided with forms, translated into tools and the means to flourish. A Better World is based on a wealth of meaningful and purposeful knowledge; in other words, it is based on wisdom. As design researchers, we will be delighted to provide a continued contribution; and as doctoral students, we will do our darn best to ensure the future turns out to be wiser than the present.

The UD17 Organizing Committee calls for the submission of original contributions in the form of a short paper. The call is open to all PhD students and recent graduates whose projects may benefit from, or be a benefit to, the discipline of design and/or design research.

 

You can check the current version of the FAQ here.

 

Contributions to the UD17 Forum should be made observing the Submission Process and Guidelines below.

Research Streams

We have adopted a tangible approach to the Conference Research Streams: we believe this will more readily provide a broader choice of entry points to your ongoing research.

 

#People

Design Research from the perspective of...

Design Research contributing to...

Society / Education / Psychology / History / Cultural Studies / Counter-cultures and Subcultures / Gender Studies / Anthropology / Health Sciences / +

 

#Objects

Design Research from the perspective of...

Design Research contributing to...

Product development / Applied Technologies / Material Heritage/ Conservation / Devices / Health Sciences / Engineering / Industry / +

 

#Media

Design Research from the perspective of...

Design Research contributing to...

Semiotics / Social Media / Visual Analysis / Aesthetics / Branding & Communication / Manifestos / Audiovisual / Industry / +

 

#Structures

Design Research from the perspective of...

Design Research contributing to...

Definitions / Territories / Business / Policies / Politics / Tourism / Citizenship / Internet / Multidisciplinarity / +

 

#Methods

Design Research from the perspective of...

Design Research contributing to...

Doctoral Research / Thesis Writing / Research Methodologies / Challenges & Difficulties / New Approaches and Frameworks to Research / +

Keynote Speakers

  • Heitor Alvelos

    ID+/Unexpected Media, University of Porto

    Scientific Board (HSS), FCT

    Heitor Alvelos is Scientific Board Member for Humanities and Social Sciences at the Foundation for Science and Technology (since 2010, chair in 2016), Director of the Institute for Research in Design, Media and Culture at the University of Porto (since 2008), and Member of Academia Europaea since 2015.

     

    Since 2006 Heitor has developed R&D within the UTAustin-Portugal Program for Digital Media, where he served as Outreach Director (2010-2014), and curates the FuturePlaces Medialab since 2008.

     

    He is Course Director of the PhD Program in Design at U.Porto, in partnership with UPTEC, having successfully supervised 14 PhDs. He ran Drawing Studio of the Royal College of Art from 1999 to 2001, and has lectured in four continents since 2001.

     

    Heitor was art director for the editorial outcomes of Manobras no Porto (QREN 2010-2013). He co-owns the random music label 333, and his latest art project is the weltschmerz icon Antifluffy.

    Since 2003, as Autodigest, Heitor has released sound pieces on Ash International, Touch, Cronica Electronica and The Tapeworm. “Faith”, his first full-length CD under his own name, is out now on Touch (TO:97).

     

    Multimedia work since 1999 includes collaborations with Jon Wozencroft, Fennesz, Biosphere, Russell Mills, Lol Coxhill, Philip Marshall, Anselmo Canha, Jono Podmore, Anabela Duarte, Pangeia, Blaine L. Reininger, Bruce Geduldig, Tuxedomoon, Laura Malacart, Morgan O’Hara, Len Massey, Max Eastley, Rafael Toral and BJNilsen.

     

    His research interests currently include the lexical implications of social media, the ecology of perception, and cultural criminology.

  • Ana Cristina Santos

    CES, University of Coimbra

    Birkbeck Institute for Social Research, University of London

    Ana Cristina Santos is a Sociologist. She holds a PhD in Gender Studies, University of Leeds, UK. She is a Senior Researcher at the Centre for Social Studies, University of Coimbra, and Honorary Research Fellow at the Birkbeck Institute for Social Research, University of London.

     

    She has been involved in and/or coordinated a number of research projects exploring issues of gender, sexual and reproductive rights, citizenship and human rights. Coordinator of the International PhD Program Human Rights in Contemporary Societies and Vice-chair of the Sexuality Research Network of the European Sociological Association between 2012 and 2016, Cristina is also an activist in the LGBT/queer and feminist movements in Portugal.

     

    Her most recent book is Social Movements and Sexual Citizenship in Southern Europe (Palgrave Macmillan, 2013). Other Significant publications include Cometi um Crime? Representações sobre (i)legalidade do aborto (Afrontamento, 2010), Bound and Unbound: Interdisciplinary Approaches to Genders and Sexualities (Cambridge Scholars Publishing, 2008), Estudos Queer: Identidades, Contextos e Acção Colectiva (Revista Crítica de Ciências Sociais, 76, 2006) and A Lei do Desejo: Direitos Humanos e Minorias Sexuais em Portugal (Afrontamento, 2005).

     

    In 2013 she was awarded a Research Grant by the European Research Council to lead a 5 years comparative study on Citizenship, Care and Choice: The micropolitics of intimacy in Southern Europe. The research involves conducting cross-national qualitative studies in Italy, Portugal and Spain on the following topics: lesbian coupledom, polyamorous relationships, assisted conception and surrogacy, naming a child, transgender and care, and living with friends in adult life (www.ces.uc.pt/intimate).

  • Paula Tavares

    ID+/CAOS, Polytechnic Institute of Cávado and Ave

    Artist, professor and researcher.

    PhD in Fine Arts: thesis "The complex relationship between art and politics in Western culture. The political art as institutional contradiction.”

     

    Coordinating Professor and Director of the School of Design at the Polytechnic Institute of Cávado and Ave.

    General Chair of CONFIA - International Conference on Illustration and Animation.

  • Jon Wozencroft

    Royal College of Art

    Touch / FUSE

    Jon started Touch during the last few months of a postgrad course at the London College of Printing. The idea was to extend the scope of a record label by combining music publishing with the level of curation afforded to fine art. On graduation he got a job at the Reader's Digest as an art editor working on special books. He spent a few years working occasionally in the print business whilst dedicating as much time to Touch as possible, producing a series of audiovisual magazines, and getting the chance to collaborate with New Order, Derek Jarman, Tuxedomoon, Joseph Beuys, Cabaret Voltaire amongst others.

     

    In 1983 Wozencroft met Neville Brody and worked with him in various guises on book projects, exhibitions, corporate commissions and especially FUSE, one of the first magazines to critically engage with digital culture. He is the author of The Graphic Language of Neville Brody 1 & 2, published by Thames & Hudson in 1988 and 1994, and the curator of the exhibition of the same name, held at the Victoria and Albert Museum in 1988 and ultimately at Parco in Tokyo in 1990. In 1994, 1995 and 1998, Wozencroft organised the programme for the 3 FUSE Conferences held thus far in London, Berlin and San Francisco.

     

    Alongside Touch, Wozencroft's photography and design work has appeared in a number of publications, including Fax Art, Sampler, G1, Merz to Émigré and Beyond, and Shapeshifters. He was the publisher of Vagabond (magazine co–edited with Jon Savage, 1992), and the editor/designer of Joy Division's Heart and soul box set in 1997. In 2005–2007 he co–curated the rereleases of Joy Division's back catalogue and participated in Grant Gee's acclaimed documentary film of the band.

     

    A book of his work, Touch & Fuse, was published in 1999 by The University of Porto. He also makes moving image work that has been showcased at the BFI, Sonar, Transmediale, Avanti and numerous other festivals. In 2012, Taschen published a full documentation of the FUSE project, From Invention to Antimatter: Twenty years of FUSE.

     

    Touch has since developed into one of the most influential music publishers in the world, working with a small roster of artists who transform the perception of sound and its visualization – Fennesz, Philip Jeck, Chris Watson to name just three. Wozencroft, with his partner Mike Harding, now celebrate 30 years of independent activity with a series of special events and releases - 30.touchmusic.org.uk

     

    Wozencroft has taught at Central Saint Martin's School of Art and Design, The London College of Printing, and has given lectures at numerous art colleges and universities around the world. He is presently Senior Tutor in sound and moving image in the School of Communication at the Royal College of Art.

Organization

Previous Editions

Organizing Committee

Heitor Alvelos, chair

Susana Barreto, co-chair

Rafael Arnoni

Joaquín Díaz

Miguel Januário

César Lugo-Elías

Rui Monteiro

Marta Nestor

Ana Clara Roberti

Fátima São Simão

Helena Sofia Silva

Isobel Taylor

Scientific Committee

Álvaro Barbosa, Saint Joseph University, Macau
Álvaro Sousa, University of Aveiro
Ana Raposo, ESAD Matosinhos
Anabela Duarte, University of London / University of Lisbon

Benedita Camacho, University of Aveiro
Bruno Giesteira, University of Porto
Catarina Martins, University of Porto
Celso Pereira Guimarães, Federal University of Rio de Janeiro
Cláudia Albino, University of Aveiro
Cláudia Lima, Universidade Lusófona

Daniel Brandão, Instituto Politécnico do Cávado e do Ave / ESAD Matosinhos
Daniel Raposo, Instituto Politécnico de Castelo Branco

Dijon de Moraes, Universidade de Minas Gerais
Eduardo Corte-Real, IADE
Emanuel Barbosa, ESAD Matosinhos

Emília Costa, University of Porto
Emílio Vilar, University of Lisbon
Gordon Hush, Glasgow School of Art

Graça Magalhães, University of Aveiro
Heitor Alvelos, University of Porto
Helena Barbosa, University of Aveiro
Helena Santos, University of Porto
Jaime Munárriz, Universidad Complutense de Madrid
Joana Cunha, Universidade do Minho

Joana Santos, ESAD Matosinhos
Jorge Pereira, Instituto Politécnico do Cávado e do Ave
Jorge dos Reis, University of Lisbon
João A. Mota, University of Aveiro
José Carneiro, University of Porto
Júlio Dolbeth, University of Porto
Leonardo Castillo, Federal University of Pernambuco

Luca Guerrini
Luís Marques Ferreira, Instituto Politécnico de Castelo Branco, University of Aveiro
Luísa Ribas, University of Lisbon

Maria Inês Ruivo, University of Évora

Maria João Baltazar, ESAD Matosinhos
Miguel Carvalhais, University of Porto
Mirian Tavares, University of Algarve
Nuno Coelho, University of Coimbra

Nuno Dias, University of Aveiro
Nuno Martins, Instituto Politécnico do Cávado e do Ave

Paulo Almeida, University of Porto

Paulo Bastos, University of Aveiro
Paulo Maldonado, Universidade Lusíada
Pedro Bessa, University of Aveiro
Pedro Cardoso, University of Porto
Pedro Carvalho de Almeida, University of Aveiro
Rachel Zuanon, University Anhembi/Morumbi
Raul Cunca, University of Lisbon
Rita Filipe, University of Lisbon

Rui Costa, University of Aveiro
Rui Vitorino Santos, University of Porto
Susana Barreto, University of Porto
Susana Lourenço Marques, University of Porto
Vasco Branco, University of Aveiro
Wellington de Medeiros, Federal University of  Paraíba

Important Dates

Venue

UPTEC PINC

Creative Industries Center

Praça Coronel Pacheco, 2

4050-453 Porto, Portugal

# Deadline for submissions: 4 July  2017

 

# Scientific Committee feedback: 28 July 2017

 

# Revised paper submission: 10 September 2017

 

# Registration deadline (FREE): 1 October 2017

 

# Conference dates: 16 - 17 October 2017

 

Contacts & Social Media

Partners

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# Deadline for submissions: 4 July  2017

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# Revised paper submission: 10 September 2017

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