Meeting designed to promote dialogues between Design, Art and Philosophy fields, with the intention of promoting theoretical and practical expansions capable of bringing up new poetic, aesthetic and political perspectives. The trigger element of the conferences was a quote from Villém Flusser, given to all the guests. In it, the philosopher relates the word design with the ideas of cunning and fraud. This strategy sought contribute to an expansion of the conceptual framework of the Design field, updating and multiplying its senses through interfaces with other areas, thus expanding its connections and creative practices. Guests from many branches of knowledge and with different types of professional activities, were organized in practical activities [Transitive Workshops] and panel discussions [Transversal Conversations], making possible to multiply Flusser´s proposition through many views.  At the opening, the event was attended by the English researcher Gavin Grindon, curator of the exhibition Objects Disobedient, a pioneer in investigating the role of objects in movements for social change

(Http://www.vam.ac.uk/content/exhibitions/disobedient-objects/)

The exhibition presents works inscribed in an expanded field of jewellery, a territory of possibilities to think and produce the jewel in a poetic way, disengaging them from the link with precious materials and the decorative function. The interrelationships between body and power are translated into objects-jewels and photographs looking to be a counterpoint to a jewellery exclusively linked to the consumption and flows of fashion, building and incorporating new cross-hybridizations with other artistic languages.

"My body, your body" shows works by Mirla Fernandes, in a retrospective of 12 years of research and creation on jewellery as an object of mediation between the artist and the other. In this universe, the artist explores the power of the relationships between object and body, subverting the decorative emphasis implicit in the idea of a body-showcase. Mirla does this in two ways: taking her own body as reference and measure for the body of the other, and also leaving free the relationships that one could establish between your own body and the jewels that she makes.

Project design and assembly of an interactive virtual museum with records memories and narratives about the world of consumption, its practices, materiality, imaginaries and actors, capturing testimonies of producers and receivers. Its content and purpose are oriented to the mapping, exploration and analysis of visual, textual and sound narratives, putting into dialogue different perspectives and visions of the world from the field of production and reception - researchers, producers and consumers - building bridges between the academic and non-academic world.

​The meeting promoted rapprochement between an educational institution in arts and jewellery production, understood as an artistic practice. This approach has allowed an unprecedented and relevant debate for the new directions of contemporary art and arts education in Brazil. Experiences in this context was submitted by the artist and teacher Cristina Filipe (Coordinator Ar.co - Centre of Visual Arts and Communication of Lisbon and the president of the PIN - Portuguese Association of Contemporary Jewellery) and the Brazilian artists Renata Porto and Mirla Fernandes. The associate director and the coordinator of the degree in Visual Arts of the Institute of Arts attended.

​The project proposes guidelines, objectives and content of physical and virtual environments from a collection of materials designed for students and professional design and related fields, allowing quick access to information.  Its justification derives from two premises: the importance of knowledge in materials for the technical feasibility of the project and the increase in the supply of materials even developed on demand. The main objective is to promote research in the area, promoting the formation of a more conscious, sensitive and creative look in terms of materials, prioritizing contact with samples and sensory information. Added to this is to provide reliable and updated information on materials and production processes, national and international, allowing a comparative analysis between different suppliers. The key element of the project is the construction of the 'spirit of the place', understood as a research space for materials whose modus operandi is consistent with the specific design needs. The collection aims to be an independent space, non-commercial purposes, with commitments to research and dissemination of scientific knowledge, non-profit or economic benefit of the information disclosed.

​Applying the concept of thematic maps to the field of the materials for the design, a cartography was developed, focused to the experimental and creative use of the materials in the projects. This strategy has allowed to explore new forms of mapping, different from the classification of engineering or categorization by application (for example, furniture materials). Focused on the perceptive and sensory aspects, the proposed map considered the hegemony of vision in its unfolding in the qualities of reflection and transparency. Thus, in the exhibition Reflexes and Transparencies a thematic map between opposites and complementary ones was established, allowing the composition of transversal structures capable of reflecting the conceptual essence of the map itself.

​Exhibition oriented to the design segment, composed of different possible applications of the same raw materials in materials and products in various sectors, such as furniture, fashion, accessories and graphic. Among the exhibited materials are bamboo, leather, rubber, paper, wood, polymers and recycled compounds. The components are presented in natura, processed and applied in industrial objects, which makes possible to realize how their configurations and aesthetic-formal characteristics can be maintained or altered throughout the productive processes.

The event was designed to coordinate the exchange of information between the three different universes, but interrelated, in making design: teaching and research (universities), industry and commerce (business) and professionals (designers and design studios). Therefore, the proposal differs conceptually from a scientific congress or a trade show, which usually are drive for one of these aspects.

In its 2005 edition - Senac Materials Symposium: Design and Identity - the tables setting and the guests selection proposed a reflection of the materials influence on design projects, discussing the innovations in this sector on national and international scenario. The speakers presented and discussed strategies for selection and use of materials based on economic, cultural and environmental aspects. The benefits and socio-cultural impacts related to certain technologies uses were also addressed, as well as the role of the material as a differentiating element for the designer's work.

2006 - Senac Materials Symposium: Design and New Scenarios - the event was conceived from the idea of possible scenarios for sustainable projects. With different technological bases (high tech or low tech) selected guests evaluated the interfaces between man-object-environment. The topic highlighted especially the need to think about design from new patterns of production and consumption, due to factors such as technology and the development of materials and production processes.