Mar 28, 2015
Barbara Kruger
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Barbara Kruger
EX02 | things change > on and beyond print
O tópico que escolhi para este exercício foi “neutral / personal (da neutralidade à interpretação pessoal)”.
Em relação ao mesmo, Chris Pullman explica, em Some Things Change:
Once the designer's role was thought to be a neutral mediator between the message and the recipient. This was the modernist way: to stay out of the way, to be clear, to be unobtrusive, to facilitate. Now there is a tolerance, even an appetite for interpretation. Theoreticians point out that since it is next to impossible to not bring your baggage to the transaction, one might as well recognize or even celebrate one's intrusion on the message.
Deste modo, fiquei interessado em trabalhar este aspecto do design já não ser visto como um trabalho independente do designer, mas sim como uma ideia, perspectiva e intenção de uma pessoa, a qual não consegue abandonar a sua posição sobre o mundo, sendo que o design é uma extensão disso.
E, assim, também se relaciona com o manifesto First Things First, sendo que toca no aspecto pessoal e individual do design.
“It can not it cannot be seen whether, or for how long, the foster will have a Future. Doubts regarding its future chances are justified when we consider the possible way of life of a post-industrial society with new technological sources in an environment planned according to human requirements.“
Josef and Shizuko Muller-Brockmann , History of The Poster (Zurich, ABC Verlang, 1971), 239
Visual/Verbal Rhetoric
"I. SYNTACTIC FIGURES A. Transpositive figures (departu re from normal word order) 1. Apposition (explanatory insertions) 2. Atomization (treating dependent parts of a sentence as independent) 3. Parenthesis (enclosing one sentence in another) 4. Reversion or anastrophe (dislocation of a word for emphasis) B. Privative figures (omission of words) 1. Ellipsis (leaving out words which can be supplied from the context) C. Repetitive figures 1. Alliteration (repeating an initial letter or sound) 2. lsophony (repeating sounds of similar words, or parts of words, in a series) 3. Parallelism (repeating the same rhythm in successive clauses or sentences) 4. Repetition (repeating a word in various positions)
II. SEMANTIC FIGURES A. Contrary figures (based on the union of opposite relata) 1. Antithesis (confrontation in a sentence of parts having opposite meanings) 2. Exadversion (assertion by a double negative) 3. Conciliation (coupling of contradictory relata) B. Comparative figures (based on comparisons between the relata) 1. Gradation (words in an ascending order of forcefulness) 2. Hyperbole (exaggeration) 3. Metaphor (transfer of a word to another field of application in such a way that a similarity of any kind between the two fields is assumed and given expression) 4. Understatement C. Substitutive figures (based on replacement of the relata) 1. Metonymy (replacement of one sign by another, the relata of both being in a real relationship) 2. Synecdoche (a special case of metonymy: replacement of one sign by another, the relata of both being in a quantitative relationship)
Ill. PRAGMATIC FIGURES A. Fictitious dialogue (speaker asks and answers himself) B. Direct speech C. Conversion of an objection into an argument in one's own favor D. Asteism (irrelevant replies to a question or argument)"
Bonsiepe, Gui. “Visual-verbal rhetoric.” Interface - An Approach to Design. Amsterdam: Jan Van Eyck Akademie, 1999. 69-82.
Visual/Verbal Rhetoric
"rhetoric is the art of persuasion by means of communication in ways aside from the normal declarative sentence."
"Starting from the fact that there are two aspects to every sign, namely its shape and its meaning, we arrive at two basic types of rhetorical figure; for such a figure can operate through the shape of the sign or through its meaning. If we consider the shape, we are in the dimension of syntax. If we consider the meaning-or relata, to use the semiotic term-we are in the dimension of semantics."
"A figure is syntactic when it operates through the shape of the sign; it is semantic when it operates through the shape of the sign; it is semantic when it operates through the relatum (or referent)."
Bonsiepe, Gui. “Visual-verbal rhetoric.” Interface - An Approach to Design. Amsterdam: Jan Van Eyck Akademie, 1999. 69-82.
First Things First (Revisited) By Rick Poynor
The critical distinction drawn by the manifesto was between design as communication (giving people necessary information) and design as persuasion (trying to get them to buy things). In the signatories‘ view, a disproportionate amount of designers‘ talents and effort was being expended on advertising trivial items, from fizzy water to slimming diets, while more „useful and lasting“ tasks took second place: street signs, books and periodicals, catalogues, instruction manuals, educational aids, and so on. The British designer Jock Kinneir (not a signatory) agreed: „Designers oriented in this direction are concerned less with persuasion and more with informa- tion, less with income brackets and more with physiology, less with taste and more with efficiency, less with fashion and more with amenity. They are concerned in helping people to find their way, to understand what is required of them, to grasp new processes and to use instruments and machines more easily.“
Armin Hofmann
Wolfgang Weingart