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Gui Bonsiepe<br />

superficial way nor only as a temporary fad;<br />

- third: the design life-style, that occupies a great part of the design expositions,<br />

design festivals and media comments;<br />

- fourth: author’s design, with products signed by famous designers and generally<br />

destined to a small elite;<br />

fifth: art-design, or trans-disciplinary design, present in the art galleries, with<br />

emphasis in the esthetics and with disdain of the utilitarian aspects of the products;<br />

- sixth: handmade design, that tries to rescue the local materials and cultures. With<br />

the design subcategory “etno”;<br />

-seventh: strategical design, that presents a broader vision of design, not being<br />

restricted to the project of a specific object, but including it in the business strategy<br />

of the company;<br />

- eighth: design research, that tries to generate and systematize new relevant types<br />

of knowledge for the practice and interpretation of design;<br />

- ninth: experimental design with new technologies, based, above all, in digital tools.<br />

The scientist of culture and literature, Edward Said, asked if there is – besides<br />

the contemporaneity – a relation between the politics of Ronald Reagan, in the<br />

80s, and the inundation of literature programs in the North-American universities<br />

with the textualism imported from France. The textualism treats the texts as unities<br />

closed in themselves, without extra-textual relations with the social, political and<br />

economical contexts. Said (1982) formulated three questions for the politic of text<br />

interpretation:<br />

- first: who wrote it?<br />

- second: the text was written for whom?<br />

- third: under what circumstances was it written?<br />

These questions may be – with the proper adjustments – adopted in design, with<br />

the aim of design interpretation and design practice. The project was developed for<br />

whom? Under what economical, social and technological conditions? Maybe we<br />

can extract from there the criteria of relevance of the design project and propose<br />

at least one of the possible exits for design – and not only for design. In this<br />

moment, the chances for that may seem scarce; but one thing is right: the crisis<br />

cannot be outsourced.<br />

138<br />

Cadernos de Estudos Avançados em Design - design e humanismo - 2013 - p. 131-139

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