Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

The graphic translation by the designer’s sensitive rationality
DEMARCHI, Ana Paula Perfetto / Dra / UEL / Brasil
FORNASIER, Cleuza Bittencourt Ribas / Dra / UEL / Brasil
MARTINS, Rosane Fonseca de Freitas/ Dra / UEL / Brasil
This article aims to analyze how was the sensitive rationality of
a designer in creating a brand that translates into an imagery
way the knowledge internalized. Your thought process is related
to the Design Thinking, of which the knowledge organized by Demarchi
(2011), will be presented here. The translation of this
knowledge helps in integration of external and internal public to
the organization that has the same understanding about it.
1. Introduction
The aim of this paper is to analyze how was the sensitive rationality
of a designer in a brand creation that translates into an
imagery way the internalized knowledge. The translation of this
knowledge helps in the integration of the external and internal
public to the organization, that have the same understanding
about it.
The article is based on the theoretical proposal of sensitive rationality,
from Maffesoli (2008), which provides a tool capable
of translating the current reality of cultural movements and the
transformation of society’s mores. The author praises the sensitive
rationality over the rationalism and gives a new perspective
on a wisdom ever known, post modernity, looking back with a
new look, more sensitive, in applying this. This new knowledge
is sensible, uses a sensitive rationalism and checks the creator
emotions reflected in the form created.
Modern society, rationalist, made scientific methods were more
important than the thing itself investigated. Thus, the rationalism
standardizes the scientific process. In contrast to this, the
Maffesoli theory relies on sensible reason, intuition, metaphor,
common sense and experience. The Post-modernism is a complex
age, mutant, which changes every relationship, fluid. The
use of standards is an indication that society is living, not stagnant,
it is not within or against or in favor of power.
The technology provides knowledge that creates power. This
power creates technology, and thus create a cycle. Modernity
emphasized the power, enhancing the conceptual expression
(theory). Postmodernity favors the imagery expression
and the set of forms, rather than theory, therefore, the
power. This is the ideal community, ie the reflection of the collective
thought, which brings people such as social networks.
The postmodern is impregnated by passion, by emotion, the
affection, the human phenomenal, spirit of respect for the human
soul understands morality and vitality proper to each thing,
because everything has life. Do not rationalize why most things
happen, but how they happen. Do not theorize, but it is under-
stood in a more human, more accessible. There is a chaos, but
we must not question. It remains for us to order it, decorate
it, adorn it; shape it. It is equally natural that we report to the
concept and reducing it requires. The concept is formed by the
knowledge that is produced, integrated, which is then reduced,
so it is the tenth part of the generated knowledge.
To illustrate this approach will be analyzed how was developed a
project of a visual identity system for an elementary and middle
school of the city of Londrina, Paraná, through observation
and analysis of reports of the involved designer. It is intended,
therefore, to understand how was the graphic translation of his
choice, because the graphical form becomes the translation of
the organization through the eyes of the designer and, therefore,
it is necessary to understand how he does it. Thus, this paper
explores new territory as it examines the creative process and
design thinking of a designer, intending thereby expand the limits
of knowledge of Design. The designer’s thought process related
to the Design Thinking, of which the knowledge, organized by
Demarchi (2011), will be presented.
2. Sensitive rationality
The cultural, religious, social, technological, economic and power
relations, not meanings modulate the matching prior, evident
today, become indicative of the emergence of a new society.
This reality requires a confrontation of the truth of what you do
not want to see, this is needed to instigate change in establishments
rooted. Even if it bothers, Maffesoli (2008, p.14) suggests
that to overcome the modern thought, must be prepared “to answer
a thought, the best way, the audacious contradictions of a
world in pregnancy,” when “the appearance, common sense or
experience “resume their importance.
The author suggests that “the sensitive issue” may be the hallmark
of post-modernity, leaving the knowledge aware of the
power of social phenomena, its growth and its posture, denying
reducing concepts already established in other times, but looking
at the energy used and presents the new social phenomena,
by means of a new scientific method that balize the best social
energy.
Studies in emotional design and affective design show how
design has been used as organizations´ competitive strategies
tools, making it possible to succeed in evoking emotions,
making the purchase of the product and its use in situations of
a pleasant experience (Zerbeto: 2011), capable of evoking positive
feelings and explain the value of products contributing to an
Design Frontiers: Territiories, Concepts, Technologies / Proceedings of the 8th Conference of the International Committee for
Design History & Design Studies - ICDHS 2012 / São Paulo, Brazil / © 2012 Blucher / ISBN 978-85-212-0692-7