The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This article discusses the vital role that communication plays in the work of those who disseminate the signs and symbols that make communication possible. In this review, Tomás Maldonado refers to the range of complexities at work in the process, as well as to the responsibility that communicators must accept and the differences between one creator and another. On the latter issue, it should be noted that some use traditional means of expression and others use mass means of communication.
The nine issues of nueva visión. revista de cultura visual. Artes, arquitectura, diseño industrial, tipografía [New Vision: Visual Culture Magazine–Arts, architecture, industrial design, typography] were published between December 1951 and 1957, and were intended as a place in which to redefine and disseminate concrete art. Tomás Maldonado was in the Editor’s chair and the Editorial Board consisted, at different times over the years, of Carlos Méndez Mosquera (1930), Juan M. Borthagaray, Francisco Bullrich, Jorge Goldemberg, Jorge Grisetti, Rafael E. J. Iglesia, Mauricio Kagel, Guido Kasper, Alfredo Hlito (1923-93), the architect Horacio Baliero, and Edgar Bayley (1919-90). A note in the first issue attributes the typographical composition to Alfredo Hlito. A note in the second and third issues states that: “NV, New Vision, the magazine, is the property of New Vision Publishers (currently being established)”. Though Tomás Maldonado was the Editor, the ninth issue listed him as the Founder. Tomás Maldonado is an intellectual, a painter, and a designer, who was born in Buenos Aires in 1922. In 1945 he helped found the painter’s movement known as the Arte Concreto — Invención Association, and in 1954 he went to Ulm, Germany, to take up a position as a professor at the Hochschule für Gestaltung [School of Advanced Studies in Form], where he eventually became the Director. This particular document has been included because it shows Maldonado’s interest in visual communication and its relationship with the challenges involved in design.