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Método conceitual de tradução intersemiótica de logótipos: da linguagem visual para a linguagem sonora
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Authors
Advisor(s)
Abstract(s)
Na área do design gráfico, é evidente o marcado pendor
visual. Não sendo exclusivo, revela-se, contudo, dominante.
O logótipo, enquanto produto da prática do design gráfico,
comporta-se num mesmo sentido, considerando-se quase
exclusivamente visual quando não enquadrado num sistema
de identidade. Isso apresenta-se como um fator excludente
da população diagnosticada com deficiência visual. Assim,
com o propósito de intentar um contributo para uma prática
mais inclusiva, este estudo pretende explorar soluções para
a problemática descrita. Não tencionando uma total
reinvenção do logótipo, o que esta investigação sugere é a
possibilidade de uma coexistência do original visual com
uma tradução sonora.
Partindo da teoria da tradução intersemiótica, delineada por
Julio Plaza, propõe-se uma base teórica para a tradução de
logótipos da linguagem visual para a sonora, sob o contexto
da harmonia musical. A análise das linguagens visual e
sonora, com o apoio da teoria das matrizes da linguagem de
Lucia Santaella, tornou possível o estabelecimento de
correspondências entre ambas, propondo, assim, um quadro
relacional de equivalências para uma tradução visual-sonora
de logótipos.
Esta dissertação não pretende apresentar-se como uma
metodologia final e completa, que propicie uma tradução
pré-determinada imediata, considerada solução para a
problemática descrita. Anuncia-se, sim, enquanto estudo
exploratório que deseja ser um incentivo para o
desenvolvimento de mais investigações nesta temática,
possivelmente contribuindo para que, num futuro (que se
deseja próximo), seja possível afirmar o design gráfico como
prática inclusiva.
In the field of graphic design, the pronounced visual supremacy is clear. Without being exclusive, it is dominant. The logo as an outcome of graphic design practice behaves in the same way, being considered almost exclusively visual when not framed in an identity system. This presents itself as an excluding factor for the population diagnosed with visual impairment. Thus, aiming to contribute to a more inclusive practice, this study intends to explore solutions to the problem described above. Not intending a total reinvention of the logo, what this research suggests is the possibility of a coexistence of the visual original with a sound translation. Based on the theory of intersemiotic translation outlined by Julio Plaza, what is proposed is a theoretical basis for the translation of logos from visual language to sound, under the context of musical harmony. The analysis of both visual and sound languages, with the support of Lucia Santaella’s theory of language matrices, has made it possible to establish correspondences between them, thus proposing a relational framework of equivalences for a visual-sound translation of logos. This dissertation does not intend to present itself as a final and complete methodology, providing an immediate predetermined translation, considered as the solution to the described problem. Rather, it announces itself as an exploratory study that aims to be an incentive to the development of further research on this issue, maybe a contribution so that, in a near future, it will be possible to establish graphic design as an inclusive practice.
In the field of graphic design, the pronounced visual supremacy is clear. Without being exclusive, it is dominant. The logo as an outcome of graphic design practice behaves in the same way, being considered almost exclusively visual when not framed in an identity system. This presents itself as an excluding factor for the population diagnosed with visual impairment. Thus, aiming to contribute to a more inclusive practice, this study intends to explore solutions to the problem described above. Not intending a total reinvention of the logo, what this research suggests is the possibility of a coexistence of the visual original with a sound translation. Based on the theory of intersemiotic translation outlined by Julio Plaza, what is proposed is a theoretical basis for the translation of logos from visual language to sound, under the context of musical harmony. The analysis of both visual and sound languages, with the support of Lucia Santaella’s theory of language matrices, has made it possible to establish correspondences between them, thus proposing a relational framework of equivalences for a visual-sound translation of logos. This dissertation does not intend to present itself as a final and complete methodology, providing an immediate predetermined translation, considered as the solution to the described problem. Rather, it announces itself as an exploratory study that aims to be an incentive to the development of further research on this issue, maybe a contribution so that, in a near future, it will be possible to establish graphic design as an inclusive practice.
Description
Keywords
Design gráfico Logótipo Deficiência visual Design inclusivo Tradução intersemiótica