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Publication
Design de ativismo: Análise semiótica do cartaz e o seu processo de significação no cenário atual das alterações climáticas
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Advisor(s)
Abstract(s)
Num cenário sociopolítico atravessado, não só, pela designada Crise
Climática, como também pela saturação mediática da Cultura Visual
contemporânea, a presente dissertação coloca em questão qual o papel
atual desempenhado pelo Cartaz quando aplicado a este mesmo
panorama, procedendo à sua exploração enquanto objeto semiótico e,
sobretudo, enquanto ferramenta para o Ativismo.
Perante a transformação dos modos de comunicação e a emergência
de novas problemáticas sociais e ambientais, impõe-se uma reexão
considerada fundamental no que toca à permanência do Cartaz como
meio previligiado e favorável à crítica e consciencialização social diante
de problemas sociais emergentes, especialmente quando inserido
num contexto dominado pela fragmentação da atenção dos espectadores.
Através de uma análise - fundada na Semiótica Peirciana - crítica e
comparativa de uma panóplia de cartazes ora produzidos por ‘Designers’
prossionais, ora produzidos por outros elementos da sociedade
numa dinâmica mais espontânea, é explorado o modo como diferentes
estratégias visuais vêm a construir signifcados emergentes, de que
forma vêm a convocar emoções, e de que modo tornam ativa uma
consciência coletiva, por parte da sociedade, face aos problemas sociais
dominantes. Assumindo a premissa de que «o Meio é a Mensagem
» , argumenta-se que o Cartaz - mais do que veícular conteúdos de
uma forma visual -, encara, agora, uma posição política potenciada
através da sua própria materialidade, estética e formas de circulação.
De um modo bastante particular, a investigação evidencia que cartazes
não produzidos por prossionais desta área tendem a apresentar
uma maior intensidade emocional e pregnância visual, enquanto que
os cartazes inerentes a uma prática prossional acabam por revelar, algumas
vezes, um distanciamento conceptual deveras comprometedor
do seu potencial ativista.
No fundo, toda a pesquisa visa contribuir para uma compreensão mais
aprofundada de como a estética visual de um Cartaz vem a inuenciar
a consciencialização e mobilização social em relação a questões sociais
prementes, fornecendo insights valiosos para práticas futuras de
Design e Ativismo social. Em consequência, mostra-se visada a problematização
de eventuais contradições do Design Ativista contemporâneo,
propondo uma revalorização do Designer enquanto agente mais
crítico, mediador simbólico e ‘co-criador’ de narrativas visuais interligadas
com a transformação social. A nível de contributos, destaque-se o
debate académico sobre o Design enquanto disciplina e prática situadas,
ética e politicamente comprometidas, sublinhando a urgência de
abordagens verdadeiras e transformadoras numa faixa temporal dominada
pelo colapso ecológico.
In a sociopolitical scenario crossed not only by the called Climate Crisis, but also by the media saturation of contemporary Visual Culture, this dissertation questions the current role played by the Poster when applied to this same panorama, in the same way that it explores it as a semiotic object and, above all, as a tool for Activism. In view of the transformation of communication methods and the emergence of new social and environmental problems, a fundamental reection is required regarding the permanence of the Poster as a privileged and favorable means of criticism and social awareness in the face of emerging social problems, especially when inserted in a context dominated by the fragmentation of spectators' attention. Through a critical and comparative analysis - based on Peircean Semiotics - of a range of posters sometimes produced by professional ‘Designers’, sometimes produced by other elements of society in a more spontaneous dynamic, we explore how different visual strategies come to construct emerging meanings, how they come to invoke emotions, and how they activate a collective consciousness, on the part of society, in the face of dominant social problems. Assuming the premise that “the Medium is the Message ”, it is argued that the Poster - more than conveying content in a visual way - now takes on a political position enhanced through its own materiality, aesthetics and forms of circulation. In a very particular way, the research shows that posters not produced by professionals in this area tend to present greater emotional intensity and visual pregnancy, while posters inherent to a professional practice sometimes end up revealing a conceptual distance that is quite compromising of their activist potential. In essence, the entire research aims to contribute to a deeper understanding of how the visual aesthetics of a poster inuences awareness and social mobilization regarding pressing social issues, providing valuable insights for future practices in Design and Social Activism. Consequently, the aim is to problematize possible contradictions in contemporary Activist Design, proposing a revaluation of the Designer as a more critical agent, symbolic mediator and ‘co-creator’ of visual narratives interconnected with social transformation. In terms of contributions, it is worth highlighting the academic debate on Design as a discipline and practice situated, ethically and politically committed, highlighting the urgency of true and transformative approaches in a time period dominated by ecological collapse.
In a sociopolitical scenario crossed not only by the called Climate Crisis, but also by the media saturation of contemporary Visual Culture, this dissertation questions the current role played by the Poster when applied to this same panorama, in the same way that it explores it as a semiotic object and, above all, as a tool for Activism. In view of the transformation of communication methods and the emergence of new social and environmental problems, a fundamental reection is required regarding the permanence of the Poster as a privileged and favorable means of criticism and social awareness in the face of emerging social problems, especially when inserted in a context dominated by the fragmentation of spectators' attention. Through a critical and comparative analysis - based on Peircean Semiotics - of a range of posters sometimes produced by professional ‘Designers’, sometimes produced by other elements of society in a more spontaneous dynamic, we explore how different visual strategies come to construct emerging meanings, how they come to invoke emotions, and how they activate a collective consciousness, on the part of society, in the face of dominant social problems. Assuming the premise that “the Medium is the Message ”, it is argued that the Poster - more than conveying content in a visual way - now takes on a political position enhanced through its own materiality, aesthetics and forms of circulation. In a very particular way, the research shows that posters not produced by professionals in this area tend to present greater emotional intensity and visual pregnancy, while posters inherent to a professional practice sometimes end up revealing a conceptual distance that is quite compromising of their activist potential. In essence, the entire research aims to contribute to a deeper understanding of how the visual aesthetics of a poster inuences awareness and social mobilization regarding pressing social issues, providing valuable insights for future practices in Design and Social Activism. Consequently, the aim is to problematize possible contradictions in contemporary Activist Design, proposing a revaluation of the Designer as a more critical agent, symbolic mediator and ‘co-creator’ of visual narratives interconnected with social transformation. In terms of contributions, it is worth highlighting the academic debate on Design as a discipline and practice situated, ethically and politically committed, highlighting the urgency of true and transformative approaches in a time period dominated by ecological collapse.
Description
Keywords
Design Cultura visual Cartaz ativista Ativismo ambiental Designer ativista