03420namaa2200517uu 4500001001100000003000600011005001700017006001900034007001500053008004100068020001800109040001700127041000800144041000800152041000800160042000700168072001600175072001600191072001600207720002500223245008900248260003000337300002200367336002600389337002600415338003600441490001400477506005100491520174700542540006302289546001202352546001202364546001202376650004702388650006802435650004802503653007802551720002502629720002602654720002602680720002202706720002202728793001802750856011702768999001702885doab132820oapen20260305123954.0m     o  d        cr|mn|---annan240112s2023    xx |||||o     ||| 0|spa d  a9788835155119  aoapencoapen0 aeng0 aita0 aspa  adc 7aAGZ2bicssc 7aAMC2bicssc 7aTBG2bicssc1 aCannella, Mirco4edt00aTransizioni  = TransitionsbAttraversare Modulare Procedere = Cross Modulate Develop  aMilanbFrancoAngelic2023  a1 online resource  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier1 adiségno0 aFree-to-readfUnrestricted online access2star  aThe volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of 'Transitions', which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to 'drawing', with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord's intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. 'Transitions', almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.  aAll rights reserveduhttp://oapen.org/content/about-rights  aEnglish  aItalian  aSpanish 7aArchitectural structure and design2bicssc 7aEngineering graphics and draughting / technical drawing2bicssc 7aThe Arts: techniques and principles2bicssc  aTransitions; Cross; Modulate; Develop; Drawing; Science of Representation1 aCannella, Mirco4oth1 aGarozzo, Alessia4edt1 aGarozzo, Alessia4oth1 aMorena, Sara4edt1 aMorena, Sara4oth0 aDOAB Library.40uhttps://directory.doabooks.org/handle/20.500.12854/13282070zFree-to-read: DOAB: description of the publication  c93298d93298