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Advisor(s)
Abstract(s)
O objectivo basilar deste trabalho é analisar e problematizar a premissa de
que estaríamos a entrar na era do Design total, procurando perceber e
explicitar o sentido global desta afirmação e, consequentemente, os seus
contornos enquanto possibilidade e as suas implicações na experiência do
mundo e na relação com esse mundo – pressupondo, aqui, um impacto
simultaneamente estético, ético e político. Para alcançar estas respostas,
propõe-se trabalhar o Design a partir da Semiótica.
As ligações existentes entre Semiótica, Design e o mundo que, de diferentes
modos, ambos assumem como objecto e material de trabalho, exigem-nos que
tomemos estas duas disciplinas no seu sentido mais lato e abrangente. Sendo
assim, o Design será entendido como vontade criadora para o mundo e a
Semiótica como apropriação cognitiva do sentido desse mesmo mundo.
Abordar o Design enquanto lugar de encontro entre o humano e o real e,
simultaneamente, como triunfo do espírito sobre a matéria torna consequente
tomá-lo como disciplina semiótica por excelência, pois há no Design uma
invulgar e inegável eficácia simbólica, potenciada pela evolução tecnológica e
consequentes alterações processuais.
A consideração do problema que o Design nos coloca na actualidade implica
assimilar que a sua natureza projectual almeja actuar não só sobre o objecto,
mas antes de tudo sobre o próprio mundo. Consequentemente, compreendê-lo
exige que entendamos de que modo a técnica o assume como instrumento e
forma na contemporaneidade, ou seja, de que modo o aparentemente
imparável progresso tecnológico, aliado ao carácter abrangente e
tendencialmente totalitário do Design, vai consolidando a hipótese de
estarmos a caminhar para um mundo integralmente concebido, desenhado,
determinado pelo ser humano, do mais ínfimo detalhe ao mais amplo
ambiente.
The main purpose of this work is to analyse the hypothesis according to which we would be entering the era of total Design, aiming not only to understand and clarify the global sense of this statement (and, therefore, its implications in our experience of the world), but also assuming an impact simultaneously aesthetic, ethic and politic. To achieve these answers, we intend to study Design from a semiotic perspective. The connections among Semiotics, Design and the world that, in different ways, they both assume as object and material, require us to look at these two fields from a broader angle. Therefore, Design is understood as creative willpower and Semiotics as cognitive appropriation of the meaning produced by the world. To see Design as a meeting platform between human being and reality, as well as the triumph of spirit over matter, makes it consequent to take it as a semiotic area, since there is an unusual and undeniable symbolic effectiveness in Design, result of its intrinsic ability to merge visible and invisible, the physical artefact with the mental process, in a two-way flux stimulated by the technological evolution and subsequent transformations. To consider the problem that Design represents today means to assimilate that its projectual nature aims to act not only on objects, but first of all on the world itself. Therefore, to understand Design and its meaning demands us to appreciate how it became the instrument and shape assumed by technology today, i. e., how does the apparently unstoppable technological progress, allied to the totalitarian propensity of Design, seems to be consolidating the theory according to which we are ate the edge of a totally engineered environment, completely designed and determined by the human being.
The main purpose of this work is to analyse the hypothesis according to which we would be entering the era of total Design, aiming not only to understand and clarify the global sense of this statement (and, therefore, its implications in our experience of the world), but also assuming an impact simultaneously aesthetic, ethic and politic. To achieve these answers, we intend to study Design from a semiotic perspective. The connections among Semiotics, Design and the world that, in different ways, they both assume as object and material, require us to look at these two fields from a broader angle. Therefore, Design is understood as creative willpower and Semiotics as cognitive appropriation of the meaning produced by the world. To see Design as a meeting platform between human being and reality, as well as the triumph of spirit over matter, makes it consequent to take it as a semiotic area, since there is an unusual and undeniable symbolic effectiveness in Design, result of its intrinsic ability to merge visible and invisible, the physical artefact with the mental process, in a two-way flux stimulated by the technological evolution and subsequent transformations. To consider the problem that Design represents today means to assimilate that its projectual nature aims to act not only on objects, but first of all on the world itself. Therefore, to understand Design and its meaning demands us to appreciate how it became the instrument and shape assumed by technology today, i. e., how does the apparently unstoppable technological progress, allied to the totalitarian propensity of Design, seems to be consolidating the theory according to which we are ate the edge of a totally engineered environment, completely designed and determined by the human being.
Description
Keywords
Semiótica - Design Design - Teoria dos signos Design - Semiótica - Mundo