Paesaggi imperfetti
Espressioni grafiche e modelli interpretativi
Espressioni grafiche e modelli interpretativi
| Co-direttore | Vincenzo Bagnolo, Andrea Pirinu |
| Comitato scientifico | Emanuela Chiavoni, Anna Maria Colavitti, Francisco Juan–Vidal, Andrés Martínez-Medina, Gian Giacomo Ortu, Pablo Rodríguez Navarro, Antonello Sanna, Cesarina Siddi, Giovanni Sistu |
Disegnare è un modo di osservare il mondo. Disegnare è anche un modo di pensare e modi diversi di disegnare determinano modi diversi di pensare. Il carattere inter/multidisciplinare e la logica transcalare tipica dell’approccio negli studi sul paesaggio favoriscono la contaminazione transdisciplinare che, a partire da sguardi diversi, concorre alla lettura e rappresentazione di un sistema complesso che racchiude tracce e conoscenze di un divenire plurigenerazionale. Nell’atto del disegnare imponiamo la nostra visione alla realtà indagata, tradotta in segni e simboli grafici che esplorano e narrano forme e luoghi in un sistema espressivo che si colloca fra linguaggio simbolico e atto istintivo. La rappresentazione grafica non si conclude in un processo imitativo del mondo reale ma genera modelli capaci di contenere propri valori: l’immagine, oltrepassando il ruolo di medium della realtà fenomenica, assume una propria valenza ed espressione caricandosi di significati autonomi inquadrati all’interno dei differenti settori scientifico disciplinari ma subordinati al contesto culturale di riferimento. A partire da questi presupposti, la Collana "Paesaggi imperfetti" diviene il luogo nel quale il Disegno è il mezzo transdisciplinare per scrutare e rappresentare il mondo. Tutti gli scritti editi nella collana sono sottoposti alla procedura di revisione e valutazione di un comitato di referee (blind peer review).
Drawing is a way of looking at the world. Drawing is also a way of thinking: different ways of drawing determine different ways of thinking. The inter/multidisciplinary character and the transcalar logic of different approaches in landscape studies, benefit the transdisciplinary contamination that, starting from different ways of looking and perceiving, contributes to the reading and representation of a complex system that contains traces and knowledge of a pluri-generational becoming and issues. In the act of drawing we impose our vision on reality, translating it into signs and symbols that explore and narrate forms and places in an expressive system placed between symbolic language and instinctive act. The graphic representation does not end in an imitative process of the real world but generates models capable of containing its own values: the image, passing beyond the role of medium of phenomenal reality, assumes its own valence and expression by charging itself with autonomous meanings framed within the different scientific disciplines and subordinate to the specific reference cultural context. From these assumptions, the book collection "Imperfect Landscapes" becomes the place where Drawing is the trans-disciplinary means to scrutinize and represent the world. All the texts published in the series are submitted to the review and evaluation procedure of a referee committee (blind peer review).
Drawing is a way of looking at the world. Drawing is also a way of thinking: different ways of drawing determine different ways of thinking. The inter/multidisciplinary character and the transcalar logic of different approaches in landscape studies, benefit the transdisciplinary contamination that, starting from different ways of looking and perceiving, contributes to the reading and representation of a complex system that contains traces and knowledge of a pluri-generational becoming and issues. In the act of drawing we impose our vision on reality, translating it into signs and symbols that explore and narrate forms and places in an expressive system placed between symbolic language and instinctive act. The graphic representation does not end in an imitative process of the real world but generates models capable of containing its own values: the image, passing beyond the role of medium of phenomenal reality, assumes its own valence and expression by charging itself with autonomous meanings framed within the different scientific disciplines and subordinate to the specific reference cultural context. From these assumptions, the book collection "Imperfect Landscapes" becomes the place where Drawing is the trans-disciplinary means to scrutinize and represent the world. All the texts published in the series are submitted to the review and evaluation procedure of a referee committee (blind peer review).
SINTESI
