The reflection on creativity and originality in the age of generative artificial intelligence invites us to revisit some of the principal debates within twentieth-century art theory.

There’s a scene that plays out with unsettling frequency in any agency. The client walks into a meeting, opens their laptop, points to a competitor’s website, and says: “We want one like that, but better.” Or, in equally popular variations for sites already live: “We want to change the colour, it’s starting to look dated”, “Let’s add a button here”, “Let’s take this page down”.

For a while, Claude wasn’t a tool most designers naturally gravitated towards.Designers are visual by nature.

We have once again been distinguished with the PME Líder status, this time related to 2025 - a renewal that leaves us particularly satisfied and holds special significance: more than just a one-time recognition, it is the validation of a solid and sustained journey.

Imagine opening a website and not being able to understand anything. The buttons are too small. The contrast makes the text almost invisible. There's no way to navigate without a mouse, and you can't use one.

From code assistants that speed up the writing of functionalities to algorithms capable of personalizing experiences in real-time, AI is redefining how we build, test, and optimize.

When a website takes time to load, the reaction is almost automatic: impatience. In an increasingly competitive digital landscape, where every second counts, website speed has gone from being a technical detail to a decisive factor in user experience and business success.

Human behavior is programmable - one only needs to know the code. (Combs & Brown, 2018)