Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
GUEST COUNTRY
ESTADOS
UNIDOS
La tecnología y las redes sociales han modificado nuestro acceso
a la información. Día a día somos parte del intercambio de datos
sobre la realidad del mundo y nuestro entorno inmediato. De
alguna manera nos sentimos poderosos y pareciera que no
tenemos tiempo para los medios formales. Aquel titular en negrillas
y letras contundentes parece decirnos todo lo que necesitamos
saber acerca de un hecho. La foto que muestra a ese personaje
público en una acción comprometedora, es un hecho verdadero
irrefutable porque ha sido compartida más de un millar de veces.
Sin embargo, ¿podemos creer en toda la información a la cual
estamos expuestos?, ¿cómo podemos acercarnos a la verdad, la
información verificada, el dato preciso o la imagen no manipulada?
LA ERA DE LA
desinformación
Technology and social networks have modified our access to
information. Day by day we take part of the exchange of information
on the reality of the world and our immediate surroundings.
Somehow we feel powerful, and it seems we have no time for formal
media. That headline in bold and blunt letters seems to be telling us
everything we need to know about an event. The photo that shows
that public figure in a compromising action is a true irrefutable fact,
because it has been share more than a thousand times. However, can
we carelessly believe in all the pieces of information to which we
are exposed? How can we rightly discern truth, verified information,
precise data, and unedited images?
There are no “alternative facts,” but just facts, and there is truth. Sadly,
the use of these modern euphemisms does not seem to frighten or
bother us anymore.
THE ERA OF
disinformation
Fernando Trías de Bes(*) classifies these new so-called “realities”
into four categories. The first one is technology, this has led us to
live and experience parallel, real, and fictitious worlds all together
in a mix. The second is speed, which means we do not care to verify
if something is true, as we are only interested in seeing content
grow and evolve. The third consists in a loss of confidence in the
formal media that we use to trust to obtain information in the
past. Finally, the fourth new reality is a desire to confirm the beliefs
and feelings by ourselves, this means that we seek and accept only
what we think and feel.
Premio Fundación Viva al Mejor Cartel Boliviano de todas las categorías $us 1000.-
Premio al Mejor Cartel Boliviano en la Categoría D $us 1000.-
REGLAMENTO Y
CONDICIONES
1. ELIGIBILITY
1.1 Contestants may be design students, graphic designers, plastic artists, photographers and
graphic producers in general, of any age and nationality, having posters printed between
April 2017 and March 2019, except for those submitting as Category D and E that must be
unpublished.
1.2 Each contestant can submit up to ten (10) posters including series and categories A,B,C &
D. Category D which doesn’t accept series. Category E will accept up to two (2) animated GIF,
per designer. The maximum limit per designer or studio is up to ten (10) posters and 2 GIFs.
1.3 Design technique is free. Format for categories A,B & C may not be less than 50 x 70 cm. In
Category D format must be 70 x 100 cm. VERTICAL. In Category E for animated poster format
must be 1000 x 1380 pixeles (vertical) and should last 15 seconds.
1.4 Posters submited may participate in the following categories:
Published works
Category A Cultural posters
Category B Social posters
Category C Advertising or commercial posters
Unpublished works.
Category D Unpublished posters on the topic: THE ERA OF DISINFORMATION
Category E Unpublished animated GIF on the topic: WOMEN’S EMPOWERMENT
Category D & E we will only accept originals & unpublished, not previously printed or digitally
published posters (including social networks, blogs, websites or other contests).
2. ABOUT POSTERS DIGITAL SUBMISSION
BEFORE SENDING CONSIDER THAT:
• The designer must provide a valid and active email for future communications.
• Multiple submissions with different emails are not accepted. In that case we will considered
for pre-selection only the first 10 posters.
• Series are not considered as one poster.
• Double check your formats and resolution before submitting your work to avoid problems
and system rejection.
POSTER SUBMISSION
• Go to www.bicebebolivia.com/poster-submission
• Fill all required information in english or spanish ONLY.
• In categories A, B, C & D upload your files at 60 cms. tall for vertical width for horizontal,
JPG. 8 compression, RGB format at 300 dpi. Each poster must not weigh more than 10 MB.
• For Category E, submit your animated GIF at 1000 x 1380 pixels (vertical) 15 seconds long
and 10 MB of maximun weight.
• Accept all Rules & Conditions and click send (Point 4).
If you submitted everything correctly you will receive a confirmation email within the next 48
hours. Please send files only once to avoid a null participation.
Fundación Viva Award to the Best Bolivian Poster of all categories $us 1000.-
Award to the Best Bolivian Poster in Category D $us 1000.-
The winner must assume the corresponding taxes in his country, if necessary.
RULES &
CONDITIONS
ORGANIZADORES Y CONVOCANTES
Organizers / Convenors
Las fuentes tipográficas oficiales, BROTHER y ARYA de la BICeBé 2019, son diseñadas por:
BICeBé 2019 official fonts, BROTHER and ARYA, are designed by:
www.bicebebolivia.com
Av. Costanera Nº1000, Edificio Gala 3B
(entre 15 y 14 de Calacoto)
P.O.Box 312462, La Paz-Bolivia
postercall@bicebebolivia.com
facebook.com/BICeBe
@bicebe
@bicebebolivia
vimeo.com/bicebebolivia
linkedin.com/company/bicebe/
flickr.com/photos/bicebe/
pinterest.com/bicebe/