Convergences - Journal of Research and Arts Education
Convergences - Journal of Research and Arts Education is a Diamond Open Access journal dedicated to scientific research, having DOI and E-ISSN, which publishes articles in the areas of design, music and visual arts, evaluated in a double-blind peer review system. The Convergences Journal publishes free of charge (no-fee for publishing or reading), in open access, the original results evaluated by peers, which explain experiences and results from research and practice in the areas of design, music and the visual arts. Through Fundamental Research Papers, Case Reports or Review Papers, by professionals researchers and scholarly contributors, it promotes knowledge related to the activities of design, music and other visual arts in all its domains of application, as well as its history, its teaching and learning. The authors and readers of this journal are mainly professionals, students, researchers and scholars from all fields of design, music and visual arts at an international level. Convergences – Journal of Research and Arts Education is a Diamond Open Access journal that provides immediate and unrestricted access to all its content, without any fees for submission, processing, or publication to authors or institutions (No APC – No Article Processing Charges) and without any cost or registration requirement for readers. All articles are published under the Creative Commons Attribution 4.0 International (CC BY 4.0) licence, in accordance with the Budapest Open Access Initiative (BOAI), allowing unrestricted reading, downloading, copying, distribution, printing, and lawful reuse, provided that the original authors and source are properly cited. Convergences is published in May and November of each year and accepts papers written in Portuguese, English or Spanish. Convergences Journal maintains a controlled publication policy, currently publishing between 12 and 15 articles per issue, with an annual volume of up to 30 articles. Convergences Journal was was founded in 2008 and accepted to Scopus Indexation in July 2023. In addition to exporting metadata to various databases, since 2020, all Convergences Journal articles are deposited in the SciELO Portugal collection, PKP PN, is listed on DOAJ, Sherpa/Romeo, on the Internet Archive and in the Scientific Repository of the Polytechnic Institute of Castelo Branco and is indexed by Scopus. Call for papers is permanently open. E-ISSN (Online) 1646-9054 ISSN (Print) 2184-0180 Edições IPCB
Edições IPCB (IPCB Publishing) / Instituto Politécnico de Castelo Branco (Polytechnic University of Castelo Branco), Portugal
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Throughout history, creative professionals have played a decisive role at key moments, and today their work takes on particular relevance in addressing complex problems through systemic, holistic, and innovative approaches. This perspective underscores the importance of creativity in the pursuit of sustainable solutions within an ever-changing environment. This article examines the integration of creativity into the curriculum of the Master’s Degree in Industrial Design and Product Development at the International University of La Rioja (UNIR), analyzing competencies and semantic fields. It further assesses how these competencies align with creative skills and the Sustainable Development Goals (SDGs) within the framework of an ongoing MINECO research project. With the implementation of the Bologna Process, higher education has shifted its focus toward the development of competencies oriented to professional practice. In this context, the master’s program integrates design, management, and manufacturing from business, social, and environmental perspectives. Through the STEAM methodology, the program seeks to train professionals capable of applying creativity, science, and technology across industrial sectors, fostering sustainable design and promoting responsibility as a driver of change. The study was carried out in three phases. First, the semantics of creativity were established on the basis of key research, including the systematic review by Fernández Díaz et al. (2019) and the study by Martínez-Villagrasa (2020), both of which identified essential creative competencies. In the second phase, these competencies were compared with the SDGs, highlighting how creativity contributes to the achievement of global objectives. Finally, the study examined how these competencies are incorporated into the master’s curriculum. The findings show that the program’s competencies are closely aligned with the SDGs, emphasizing innovation, social responsibility, and sustainability. The master’s program equips designers to confront economic, social, and environmental challenges, thereby contributing to inclusive and sustainable development.
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A solution for the destination of discarded textile scraps from clothing companies is textile shoddy. The process is known as textile recycling. The shoddy fibers are obtained from the processing of residual materials and reinserted into the textile chain to produce new fabrics through circular economy strategies. In this context, the main objective of this article is to present a proposal to produce sustainable sneakers for small footwear companies. To produce the yarns, shoddy fibers originating from garment scraps discarded by industries in the city of Ibitinga (SP, Brazil) were used. Textile materials discarded by the clothing manufacturers with a 100% polyester composition were selected; the fabric scraps were shredded and mixed with recycled polyester fibers (PET) to produce the yarns: 50% shoddy fibers / 50% recycled polyester from PET bottles. The yarns were produced on ring spinning frames and the uppers on rectilinear knitting machines. The produced articles showed that there is technical viability to produce seamless knitted uppers using shoddy fibers as raw materials.
This paper critically examines the practice of co-design in marginalized urban communities through comparative case studies in Campana-Altamira (Monterrey, Mexico) and Kampung Gedong Pompa (Jakarta, Indonesia). Drawing on in-depth interviews, field-based reflections, and direct involvement in ongoing community-based workshops, we analyze how epistemic hierarchies, institutional logics, and inherited assumptions about expertise influence participatory design efforts in urban slums. Both communities, while considered "marginalized," are highly connected to technological infrastructures and have access to global narratives; yet they are often reduced to passive recipients of externally driven interventions. Our findings reveal that co-design efforts, while well-intentioned, often fall into extractive or paternalistic patterns that fail to meaningfully integrate local knowledge. Despite the rhetoric of participation, design processes risk reproducing outsider-centric models unless epistemological shifts are made. We argue for reframing co-design as a reciprocal and situated learning process rooted in social epistemology and behavior change intervention ontology—one that sees local communities not as knowledge gaps to be filled, but as experts of their own realities. The paper explores the ontological and epistemological tensions between institutional agendas and lived experience, emphasizing the need to move beyond universal models toward more context-sensitive engagements. We propose a set of actionable recommendations to guide future co-design projects, especially those involving academic actors such as university students conducting social service. This study contributes to the development of more equitable and contextually grounded approaches to co-design, broadening efforts to decolonize participatory design by situating knowledge production within the lived realities and strengths of the Global South.
Experiential Learning in Cultural Heritage
The Castelo Branco: Timeless Tapestry of Emotion and Memory Blended Intensive Program (BIP) was developed as an experimental model for instruction, combining web-based preparation sessions with hands-on, face-to-face instruction. Aimed at students of cultural studies and visual studies, the BIP supported direct experiential learning with Castelo Branco’s heritage and history. In a review of adopted pedagogical approaches, face-to-face contact, and final student deliverables, this study found that hands-on experiences and interdisciplinarity enriched students’ representational and interpretative capacities in terms of cultural narrative through artwork. Not only did the format of the program enable skill development in terms of techniques, but students’ work with conceptual thinking regarding cultural heritage conservation was strengthened through face-to-face contact, guided tours, participatory projects, and co-created artwork in guided tours and creative sessions.
In an ever-changing society, students need to acquire a variety of transferable skills in the academic, personal, and social spheres. Therefore, this article investigates how the collaborative creation of a musical, using cooperative learning, strengthens the development of social and personal competencies in first-year students of Compulsory Secondary Education at a school in Madrid (Spain). The sample included 48 students (22 males, 45.8%, and 26 females, 54.2%). Following a descriptive research design, a questionnaire tailored to the objectives of this study was used to assess the use of cooperative learning in the creation of a musical and its impact on the acquisition of these competencies. Additionally, a semi-structured interview and teacher-researcher participant observation was conducted to gain a broader perspective in this study. The results obtained show significant improvements in social skills, group processing, positive interdependence, promoting interaction, and individual responsibility. Analysis using the U Man-Whitney test revealed significant differences by gender on several of the social skills items, with a median effect size (r = .32; r = .30; and r = .49) and a higher sum of positive ranks on several items for females. These findings suggest that cooperative group performance and creation activities foster inclusion, emotional regulation and personal and social engagement.
Virtual And Augmented Reality in Contemporary Art Performances
The integration of virtual reality (VR) and augmented reality (AR) technologies into the field of fine arts opens up new opportunities for transforming the artistic space, enriching the viewers’ aesthetic experience, as well as activating cognitive and perceptual processes. The relevance of the study is determined by the rapid development and implementation of AR/VR technologies in artistic practices, which requires an academic understanding of their aesthetic, cognitive, and cultural consequences. The combination of digital media, 3D modelling, and interactive sensory scenarios contributes to the creation of dynamic artistic performances in which figurative thinking, aesthetic image, and stylistics acquire virtual multidimensionality. The aim of the research is to analyse the ways in which VR/AR technologies are used in artistic practices of contemporary art with a focus on the new forms of interaction between the author, image, and recipient. The research employed the following methods: qualitative analysis of digital installations and stage practices with elements of virtual space, a comparison of the perceptual reactions of the audience, and the study of 3D modelling as a tool for creating an artistic environment. The results indicate the growing role of digitalization and artificial intelligence (AI) in the evolution of the visual code of contemporary art, the expansion of the stylistic and cognitive boundaries of perception, and the rethinking of aesthetic mechanisms in the context of interactivity and simulative reality. In 9 out of 12 analysed performances, the use of AR/VR contributed to an increase in the Perceptual Impact Index (IPZ) above 0.75, while this indicator did not exceed 0.53 in traditional performances. At the same time, the highest level of cognitive engagement of viewers was recorded in VR scenes with adaptive AI content (an average of 4.6 points out of 5). This confirms the expansion of stylistic and cognitive boundaries of perception and the rethinking of aesthetic mechanisms in the context of interactivity and simulated reality. The academic novelty is identified patterns of shifting the emphasis from the art object to the artistic interaction process, where VR/AR and 3D modelling are leading mediators of visual transformation. Prospects for further research may be studying the impact of digital performances on the viewers’ emotional and perceptual experience and the role of AI algorithms in the artistic generation of visual content.
This study is grounded in the field of Industrial Design, examining how early electrification initiatives contributed to the development of automotive design capabilities in Portugal. It presents preliminary findings from postdoctoral research exploring the early stages of electrification in the Portuguese automotive industry during the beginning of the 21st century. It examines key initiatives such as the P3 Project, CEIIA (Centre for Excellence and Innovation in the Automotive Industry), and CEDP (Product Engineering and Development Centre), which aimed to position Portugal as a hub for niche small electric vehicles (SEVs) while developing local capabilities in product design, engineering, and R&D. Although this work stems from a broader postdoctoral investigation, it represents a preliminary academic study focused on the development of design capabilities within educational contexts. These capabilities are intended to be transferred to the industrial ecosystem through the integration of trained professionals, reinforcing the long-term innovation capacity of the Portuguese mobility sector. The paper also highlights the challenges faced, such as systemic lock-in effects and insufficient national support, which hindered the full potential of these initiatives. Nonetheless, the legacy of these projects continues, notably through CEIIA's role in developing multiple electric vehicles in recent years. This analysis concludes that the early 2000s marked the beginning of Portugal’s engagement with the EV industry, fostering the development of product design and engineering capabilities crucial for future advancements in electric mobility.
Developing a commemorative brand for a city's centenary is an essential communication strategy for affirming its identity. Celebrating a century of history transcends marking a date; it presupposes reflection on the city's, its community's, and its heritage's trajectory. In this context, brand design emerges as an effective strategic tool, capable of synthesizing values, memories, and future aspirations, translating them into a visual symbol that generates recognition, pride, and a sense of belonging. This article, supported by a case study, offers a careful and in-depth reflection on the design process that shaped the creation of a commemorative brand for the city of Caldas da Rainha, with a special focus on the celebration of its centenary (1927-2027) and the importance of valuing its history and culture. It analyzes the role of design in creating an authentic identity that lasts beyond the event and strengthens the city's image in the collective imagination. In addition, it seeks to understand the designer's role as a strategic agent in creating visual identities that promote the city's appreciation and projection. To achieve these objectives, and given that the design process involves complex stages of research, planning, creation and implementation—which require a deep understanding of the city’s historical, cultural and social context—a commemorative identity project was developed in collaboration with design undergraduates. This project included a detailed record of all stages of development, from the initial briefing to the final design of the symbol, logo and visual elements. Data collection focused on direct observation of the stages of the creative process and on the analysis of the visual identities produced by the students.
Teaching Methodologies in the Creative Process in Knitwear Design
The design and development of knitwear are fundamental areas in the field of fashion design, requiring a pedagogical approach that combines technique, creativity, and innovation. This paper analyses the project methodology applied in Knitwear Design course of the second year, second semester of Fashion Design Bachelor's degree at the University of Beira Interior, highlighting the importance of interdisciplinary integration, use of digital technologies, and fostering creative development. Thus, this study explores the various stages of the project process carried out in this context, with an emphasis on the relevance of market research, trend analysis, and experimentation with materials and specific digital technologies. Furthermore, the research adopts an exploratory approach, using a case study focused on works developed by former students who successfully completed this course. The project methodology is exemplified through the analysis of collective portfolios of former students, including stages of the process, material samples, developed knit structures, and photographic documentation of the final products. Finally, the analysis of the collected data aims to demonstrate how the applied methodology positively contributed to the development of creativity, efficiency, and quality in the projects carried out within this course. This study aims to validate the adopted methodological approach and provide valuable contributions to future pedagogical practices in the field of fashion design.
The paper investigates the exhibition practice of the period room through the case study of Ettore Sottsass’s Casa Lana, recently reconstructed at the Triennale di Milano. The research adopts a documentary, curatorial and architectural analysis, combining historical sources, exhibition archives, and direct observation of the installation to clarify the spatial and narrative meanings of this reconstruction. The study aims to explore how contemporary museums reinterpret domestic interiors as immersive environments. The opportunity to physically experience a ‘furnished environment’ stimulates profound reflections on the construction of an interior space, from its composition to the definition of details, through material choices that contribute to recreating the atmosphere and quality of the space itself. By analyzing Casa Lana within the broader genealogy of exhibited interiors in Italy and abroad, the article identifies new curatorial strategies that connect material authenticity and visitor experience. The results highlight Casa Lana as a heterotopic device that merges preservation, narrative display, and architectural reflection, thus contributing to the current debate on the role of interior architecture within design museums.
Cartographies of children’s theatre rehearsals
This article stems from an ongoing practice of drawing during theatre rehearsals with children. The proposal expands the listening to body and space through affective cartography (Rolnik, 2006), continuing the study of gesture as a manifestation of freedom, constrained by the forces that provoke it. The central question is to understand what graphic gesture through drawing can reveal, which escapes traditional observation or technical recording. The idea is to conceive drawing not as representation, but as a form of artistic and critical inquiry. Rather than depicting, drawing follows forces in the becoming (Deleuze & Guattari, 1995), inscribing impulses, dispersions, and hesitations. This trace, at times errant and intransitive, reveals itself as pure mediality (Agamben, 2000). This case study situates itself within artistic research as a mode of implicated and situated awareness. Drawing, as a mode of listening, reveals an epistemological quality capable of producing knowledge.
Feminist Subversion and “Algorithmic Co-authorship” in Artistic Practice with GenAI
This article proposes a critical reflection on the convergence between art, technology, and gender, focusing on the analysis of feminist artistic practices that employ Generative Artificial Intelligence (GenAI) as an instrument of aesthetic, symbolic, and political subversion. The research discusses the transformations introduced by emerging visual languages and their disruptive impact on the deconstruction of hegemonic narratives, through the works of Ivona Tau and Stephanie Dinkins, analyzing how GenAI contributes to re-signifying the territories of the body, memory, and female subjectivities. While Ivona Tau uses artificial neural networks and coding to manipulate photographic images and evoke poetic memories that challenge normative aesthetic standards, Stephanie Dinkins integrates GenAI as an agent of social critique, developing artificial entities aligned with racialized communities and promoting inclusive representations. In dialogue with these references, the authorial case study in/visibilidades no feminino 3.0 is presented as an experimental artifact that mobilizes GenAI as a technique of symbolic recomposition, articulated through processes of critical cultural mediation and imagetic ethnography. The practice highlights the potential of GenAI as a tool for “algorithmic co-authorship,” both collaborative and symbolic, challenging traditional models of authorship. Grounded in the posthumanist perspective of Donna Haraway (2016, 2022), the proposal values critical interaction between humans, machines, and organisms as a strategy of co-creation and aesthetic insurgency.
Music teaching in the Formação Musical subject in Portugal
A retrospective analysis of the Formação Musical subject reveals that its current state is closely linked to its historical conception. This article presents the main findings of a study focused on the Formação Musical subject in the basic and secondary music courses of artistic and specialized music education Portuguese public schools. The study aims to highlight the main aspects that, over the years, seem to have contributed to the formation of the current identity of the Formação Musical subject, as well as the direction of its evolution within the educational system. The research involved a case study, that used a diverse set of Documents of Curricular Orientation of Formação Musical (DOCFM) and thirteen interviews with teachers from various educational levels who have or have had professional connections to the Formação Musical subject. The conclusions emphasize that Formação Musical provides structural support to the artistic and specialized music curriculum, bringing together knowledge and practices which, due to their diversity, make it a pedagogical space of live music that aims, among other things, at a meaningful understanding of musical language and its artistic mastery.
Graphic score as a teaching resource in music education: a case study with prospective teachers
Esta investigación aborda la necesidad de transformar la formación del profesorado de música, tradicionalmente centrada en la notación convencional, incorporando las partituras gráficas como herramienta pedagógica creativa y accesible. Un enfoque cualitativo con un diseño fenomenológico y un estudio de caso instrumental explora las experiencias y significados atribuidos por el alumnado del Grado en Educación durante el curso 2024/2025. Mediante entrevistas semiestructuradas y análisis temático, se identifican percepciones que destacan el potencial expresivo, emocional y educativo de estas representaciones visuales del sonido y su capacidad para democratizar la creación musical sin necesidad de conocimientos musicales previos. Los hallazgos indican que las partituras gráficas fomentan la participación activa, la autoexpresión y la comprensión crítica de los fenómenos sonoros, y son percibidas por el alumnado como especialmente útiles y aplicables en las aulas de Educación Infantil y Primaria, donde la creatividad, el juego y la libre expresión se valoran como principios fundamentales del aprendizaje musical.
Building on the Mies van Der Rohe slogan "less is more", the present research aims to identify phenomena and lines of thought that relate in different ways to a conceptual link between the idea of "less" and design. Going beyond reductionism, this contribution explores different interpretations that have emerged in the postindustrial age, which can represent new lifeblood for the design culture of the near future. On this basis, emblematic projects are selected, specifically from 2000 to the present days; particular attention is paid to Italian visions, historically associated with a non-standardizable concept of design and with an humanistic idea of simplicity. The multiple “paths of less” that arose in this research show some desirable qualities for the future of design; these directions can be further explored, also in the hope of reducing our footprint on the planet.