La presente investigación busca establecer una reflexión multidisciplinaria sobre la relación existente entre el par dicotómico de autoría y plagio, dentro del ámbito de la creación original en proyectos de diseño. Entendemos que el análisis sobre esta problemática desde una visión diacrónica se amplía notablemente con la irrupción de los procesos de cálculo digital aplicados, conocidos como herramientas de Inteligencia Artificial (IA).Consideramos que este proyecto redundará en aportes significativos para un debate reflexivo tanto dentro de la enseñanza de la disciplina como en el ámbito de la práctica profesional de los egresados de la carrera de Licenciatura en Diseño de la Comunicación Visual de la Facultad de Arquitectura, Diseño y Urbanismo de la Universidad Nacional del Litoral (LCDV/FADU/UNL).Se propone una reflexión sobre el uso de las prácticas habituales de mímesis, referencia y cita (homenaje), en tanto constituyen procesos disponibles dentro de la enseñanza y creación de obras de diseño en relación con el par antagónico: autoría y plagio, abordadas desde una dimensión histórica y multidisciplinar. Esta dicotomía, que permaneció casi inalterable durante casi veinte siglos, hoy se encuentra bajo revisión por el uso de las plataformas digitales que permiten incorporar la intertextualidad y la ambigüedad como elementos que afectan el concepto de autor.En la actualidad, la irrupción de la Inteligencia artificial utilizada como herramienta digital en el proceso de realización de proyectos de diseño abre un debate sobre la originalidad como elemento distintivo para descubrir la presencia del ?autor?, y al mismo tiempo, obliga a reconsiderar el andamiaje cultural que sostiene la naturaleza (de por sí ambigua) de los derechos de autor. El devenir del concepto de autoría -consolidado desde mediados del siglo XX- y ampliado con la creación de las licencias digitales, genera un interrogante sobre, si la verdadera naturaleza de la autoría -dada la utilización de IA en la creación de las obras de diseño- es la mutabilidad y el dinamismo. ¿Las obras ya no tienen autores definidos gracias a la fungibilidad del medio digital? Esta dualidad nos invita a participar de la reflexión actual, en carácter de educadores proyectuales, sobre la posible existencia de un nuevo paradigma cultural respecto de la autoría, adjetivado por la técnica, sus avances digitales y su implicancia en la formación dentro de FADU/UNL de futuros profesionales del diseño.
This research aims to establish a multidisciplinary reflection on the relationship between the dichotomous pair of authorship and plagiarism within the realm of original creation in design projects. We understand that the analysis of this issue from a diachronic perspective is significantly expanded by the emergence of applied digital calculation processes, known as Artificial In- telligence (AI) tools. We believe that this project will result in significant contributions to a reflective debate both within the teaching of the discipline and in the professional practice of graduates of the Bachelor's Degree in Visual Communication Design at the Faculty of Architecture, Design, and Urbanism of the National University of the Litoral (LCDV/FADU/UNL). Its object of study is authorship in design. It begins by considering the strategic position that the author has held and still maintains within our culture, understood as one to whom what has been said, written (Foucault: 1969), or designed can be attributed. Attribution — even when it concerns an unknown author — is irrelevant when it is not indissolubly linked to the concept of originality. The trait of original creation inhabits the territory of creativity, resulting in a concrete work, but... is every creative work original? According to Obradors (2007), a design work will be original when it possesses "the ability to propose something new even when it starts from an imitation." Aware of this complexity, this research proposes a reflection on the use of common practices of mimesis, reference, and citation (homage), as they constitute available processes within the teaching and creation of design works in relation to the dichotomous pair: authorship and plagiarism, approached from a historical and multidisciplinary dimension. The valuation of the use of these procedures as part of the creative process and discursive representation — along with the concept of originality — has undergone modifications throughout history. In parallel, the concept of plagiarism reflects these variations and is up- dated at each moment. However, it retains an invariable trait: a plagiarist is a "false author" (the falseness is distinctive in the plagiarized work as opposed to the originality of the author in the preceding work). This dichotomy, which remained almost unchanged for nearly twenty centuries, is now under review due to the use of digital platforms that incorporate intertextuality and ambiguity as elements affecting the concept of the author. Currently, the emergence of Artificial Intelligence (AI) used as a digital tool in the design project realization process opens a debate on originality as a distinctive element to discover the presence of the "author" while also forcing a reconsideration of the ideological-legal framework that sustains the inherently ambiguous nature of copyright. The technology of algorithms, in its quest to create machines with human-like capabilities, pushes plagiarism to an extreme where its boundaries seem blurred: it only exists insofar as someone "discovers" and "rejects" it (Posner: 2003). The evolution of the concept of authorship — consolidated since the mid-20th century and expanded with the creation of digital licenses — raises the question of whether the true nature of authorship, given the use of AI in the creation of design works, is not mutability and dynamism. Do works no longer have defined authors thanks to the fungibility of the digital medium? In contrast, we might also propose that AI merely performs a selection op- eration on an available catalog without the intervention of creative grace, as a distinctive mark of authorship. This vigorously flowing dichotomy compels us, as design educators, to participate in the current reflection on the possible existence of a new cultural paradigm regarding authorship, influenced by technology, its digital advancements, and its implications in the training of future professionals in visual communication design within FADU/UNL.
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