No full-text available
To read the full-text of this research,
you can request a copy directly from the authors.
Monster aesthetics as an expression of decolonizing the design body
Abstract
Institutionalized design education aims at training the human body to become a design body, a subject capable of designing according to aesthetic canons. In colonized territories, the modern canon predominates over indigenous, vernacular and other forms of expression. Manichaeism, utilitarianism, universalism, methodologism and various modern values are inculcated in the design body as if it did not have any. The colonization of design bodies makes young designers believe that once they learn what good design is, they need to save others from bad design. This research reports on a series of democratic design experiments held in a Brazilian university that questioned these values while decolonizing the design body. Comparing the works of design produced in the experiment with some works of art from the Neoconcrete movement, we recognize a characteristic form of expression we call monster aesthetics : a positive affirmation of otherness and collectivity that challenges colonialists’ standards of beauty and goodness.
... & Gonzatto, 2020) son solo algunos de los enfoques que hacen que la investigación en diseño pase de la denuncia al anuncio de nuevas realidades. Este cambio es el resultado dialéctico de que los movimientos sociales lleguen a la práctica del diseño y, al mismo tiempo, la práctica del diseño llegue a los movimientos sociales (van Amstel et al., 2021). ...
... Estos procesos generan estructuras sociales estables, aunque menos visibles, que incluyen objetos cotidianos que han sido diseñados por los opresores para ser utilizados (o no utilizados) por los oprimidos, de forma que se acentúan las diferencias negativas. El papel del diseño en la estructuración de la opresión ha sido en gran medida desconocido por la investigación y la historia del diseño (al igual que ocurre en otros campos); sin embargo, podemos ver un movimiento reciente, impulsado por los movimientos sociales, que reconoce la complicidad del diseño con el racismo (Souza, 2020), la heteronormatividad (Santos, 2018), el capacitismo (Liao & Huebner, 2021), el colonialismo (Angelon & van Amstel, 2021;Schultz et al., 2018), el usuarismo (Gonzatto & van Amstel, 2022) y otras formas de opresión estructural. ...
... El diseño pluriversal (Noel, 2020), los diseños feministas (Bardzell, 2010), la justicia social en el diseño (Costanza-Chock, 2018), el diseño multiespecies (Westerlaken, 2020), el diseño para la liberación (Jack & Tuli, 2021), las perspectivas del sur sobre el diseño (Gutiérrez Borrero, 2015; Reynolds-Cuéllar et al, 2022) y el taller antropofágico (van Amstel & Gonzatto, 2020) son solo algunos de los enfoques que hacen que la investigación en diseño pase de la denuncia al anuncio de nuevas realidades. Este cambio es el resultado dialéctico de que los movimientos sociales lleguen a la práctica del diseño y, al mismo tiempo, la práctica del diseño llegue a los movimientos sociales (van Amstel et al., 2021). ...
El papel del diseño en la estructuración de la opresión ha sido en gran medida desconocido por la investigación y la historia del diseño. Sin embargo, podemos ver un movimiento reciente, impulsado por los movimientos sociales, que reconoce la complicidad del diseño con diversas formas de opresión. Reconocer el diseño opresivo abre la posibilidad de ocupar, reclamar, reparar y restaurar lo que los opresores han hecho con él. Algunos de los enfoques que hacen que la investigación en diseño pase de la denuncia al anuncio de nuevas realidades. De no hacerlo, podría prevalecer el fatalismo, aun siendo crítico con la realidad actual. En el caso del diseño, esto significa dedicar el mismo esfuerzo a analizar los diseños opresivos que a desarrollar diseños liberadores. En sintonía con esta implicación, este número especial destaca las investigaciones que contribuyen tanto a agudizar la comprensión de la opresión en el diseño como a aumentar la solidaridad entre las distintas luchas por la liberación que atraviesan el diseño.
... Methodologically, our research project involves practice-based design research (Vaughan et al., 2017) in theatre laboratories, improvisation rehearsals, literature discussion, designing theatre props, designing a public controversy, and reflective writing. The article contributes to the scholarly discussions on decolonizing the design body (Angelon & Van Amstel, 2021;Schultz et al., 2018) and relational design (Almeida et al. 2019;Blauvelt, 2008). We expect to come to terms with design wickedness by the end of this paper, or perhaps, to stimulate further repercussions. ...
... To come to term with wickedness in design, we advise seeing how this concept evolved and revolved in contemporary culture. As part of the culture, design research also reproduces tropes that are dealt with differently in other fields, including colonialist tropes (Angelon and Van Amstel, 2021;Schultz et al., 2018). Seeing how wickedness has been dealt with by fantastic literature and theatre might refresh the current way design research frames this aspect of human reality. ...
... We argue that the transdisciplinary and transgressive qualities of wickedness carry the potential for other kinds of design thinking, developed from epistemologies of the South (Gutierrez Borrero, 2015). When designing this Forum Theater play, we were influenced by feminist epistemologies as much as decolonial monstruosities (Angelon & Van Amstel, 2021), visions that are synthesized in the encounter of the feminist witch and in the proletarian Caliban (Federici, 2004). The character Doris in our play incarnated contradictorily both archetypes as she changed her augmented reality costume to display different emotions. ...
Contemporary design thinking is often described as a designerly approach to dealing with wicked problems – problems that are too complex and deemed impossible to fix, but that can be tamed and solved with proper design methods. Wickedness is a fundamental justification for designing things as a leap of faith or even as a kind of magic. This practice-based design research questions this justification while also opening up new understandings of wickedness. By creating a Forum Theatre session with characters inspired by the musical Wicked as allegories for different design agents/subjects in an online event, the authors engaged design spectators in critical thinking of their own roles and practices from a broader social and political perspective. We conclude that wickedness is not necessarily a nasty quality of design problems and solutions but a relational quality that can be explored by anti-oppressive approaches to design thinking and design doing.
... If we can learn from the Black movement (and other social movements that have adopted this strategy), there are some advantages in assuming this identity to dialectically overcome this very distinction (Fanon, 2007). By affirming the user identity [11], even if we may look strange or monstrous (Angelon and Van Amstel, 2021), we can make the issue more visible to society, who is the collective body that can indeed overcome the oppression. By that, we acknowledge that it is necessary to strengthen dialog with other studies of oppression, such as feminist theories (Bradley et al., 2015;Bardzell and Bardzell, 2015b;Castelini, 2018), critical race theories (Gary and Vines, 2013;Ogbonnaya-Ogburu et al., 2020) and decolonial theories (Alvarado et al., 2021;Bidwell, 2016) in order to open up new perspectives over HCI, mainly to deal with the intersectionality between multiple oppressions that affects the same individual or social group (Rankin and Thomas, 2019;Schlesinger et al., 2017). ...
... 2. By alleged designers, we refer to the social group that includes interaction designers and all design, computing and informatics specializations that hold the privilege of defining computers' ends, including those who wear engineering's, scientist's, or entrepreneur's hats. We consider that this social group also constitutes a collective body, a collective designer (Ehn and Badham, 2002), a design body (Angelon and Van Amstel, 2021) that designs in tune with other social groups they are part oftypically, part of the same (developed) nation, (central) locality, (bourgeoisie) class, (man) gender and (white) race (Sturm et al., 2015;Suchman, 2002). ...
PURPOSE: This research theorizes the condition of human beings reduced to being users (and only users) in human-computer interaction (HCI), a condition that favors them becoming objects or targets of commercial dark patterns, racialized profiling algorithms, generalized surveillance, gendered interfaces and heteromation.
DESIGN/METHODOLOGY/APPROACH: The reconceptualization of the users’ condition is done by confronting HCI theories on users with a dialectical-existential perspective over human ontology. The research is presented as a conceptual paper that includes analyzing and revising those theories to develop a conceptual framework for the user oppression in HCI.
FINDINGS: Most HCI theories contribute to the user oppression with explicit or implicit ontological statements that denies their becoming-more or the possibility of users developing their handiness to the full human potential. Put together, these statements constitute an ideology called userism.
SOCIAL IMPLICATIONS: HCI needs to acknowledge its role in structuring oppression not just in sexism, racism, classism and ableism, but also the specific relation that pertains to HCI: userism. Similar to other fields, acknowledging oppression is the first step toward liberating from oppression.
ORIGINALITY/VALUE: The user is an existential condition for HCI theories, yet few theories can explain in depth how this condition affects human development. From the dialectical-existential perspective, the user condition can be dehumanizing. Computers may intensify existing oppressions through esthetic interactions but these interactions can be subverted for liberation.
KEYWORDS: Users, Human-Computer Interaction, Oppression, Ontological design, Social justice informatics, Userism
... Our meeSngs are an open space where everyone is encouraged to speak, regardless of their origin or academic background, because we agree with Freire that everyone has something to learn and teach. This dialogical approach deconstructs the cultural invasion that we suffered (and sSll suffer) in our design pracSces and thoughts (Angelon and Van Amstel, 2021), cuYng the umbilical cord that links design with capitalism. ...
... From these readings, discussions, and caregiving, our foundaSons for acSng together in concert were greatly expanded beyond what we could get from our culturally invaded design praxis (Angelon and Van Amstel, 2021). Our inspiring authors did not ignore what had previously been produced by the metropolises. ...
Design research is geting interested in social movements in recent years. Organizing tactics like coalition-building have been taken from civil rights movements and turned into operative concepts such as designing coalitions that point towards converging interests. As such, this concept cannot support social movements, which are not formed by common interests, but by pressing social needs ignored in official and everyday politics. This advances further the revision of the designing coalition concept based on feminist literature and on the authors' experience in weaving the Design & Oppression Network in Brazil. This network was formed in 2020 by design professors, students, and professionals from all over Brazil, as well as from other countries. From its inception, the network was concerned with the Latin-American reality — colonized, culturally invaded, underdeveloped, and oppressed in various ways by the Global North. The network approaches design as a pedagogical and critical process so that the production of design space becomes an opportunity for listening, reflection, dispute, synthesis, mutual care, and insurgence acSons against all forms of oppression. From this experience, we propose the alternative concept of insurgent design coalitions to deepen design engagements with social movements.
... , and anthropophagic studio (van Amstel & Gonzatto, 2020) are just some approaches that shift design research from denouncing to announcing new realities. This shift is a dialectical result of social movements reaching design practice while, at the same time, design practice reaching social movements (van Amstel et al., 2021). ...
... In the design field, populated mainly by middle-class workers, this never-fulfilling ambition turns into reproducing theories, methods, practices, and esthetics from the Global North. As these do not address the oppressed reality that Global South designers live and work, design workers and students get increasingly alienated from their surrounding reality by studying the Global North design literature (Angelon and Van Amstel, 2021). If we wanted to be responsive to our context, we realized we needed to reconstruct the foundations of design based on the concept of oppression. ...
Design can be both a practice of freedom or a practice of oppression, depending on who designs and whose intentions are prioritized. When this practice underestimates, excludes, disrespects, or deceives people who are part of oppressed groups, it intensifies oppression. Design as a practice of freedom takes more than a new design method. It requires the union of the oppressed. This paper describes the weaving of the Design & Oppression network, which responded to the growth of political authoritarianism and naive consciousness in design. The network's goal is to establish bonds of solidarity between all struggles against oppression that cut across design. Its critical pedagogy draws from the Latin American tradition of critical thinking in Education, Arts, and Sociology, promoting both professional training and concrete social actions.
... It has been shown that positive attitudes regarding a subject matter help the learning environment and vice versa [2]. For several authors, knowing the internal processes of the students has influenced and helped improve their learning [3]. ...
Corporal expression is a content that is forgotten by most educators but has been proved to bring numerous benefits to students of all ages. Teacher perceptions and beliefs play a fundamental role in the teaching-learning process, influencing students to a great extent. This study aims to present the factor structure and reliability of a questionnaire for the assessment of teachers’ perceptions about corporal expression. The sample consisted of 212 Spanish prospective teachers who completed the questionnaire to assess their readiness and appreciation about corporal expression. Exploratory and confirmatory factor analyses, as well as reliability testing, were carried out. The results showed a factor structure with 3 dimensions (pleasure, preference, and evaluation of corporal expression) composed of 23 items with good and excellent goodness-of-fit values and high reliability (Cronbach’s alpha = 0.71–0.93). Thus, the questionnaire can be considered a quick and easy-to-apply tool to analyze prospective teacher’s perceptions about their preparation to address their students’ corporal expression, allowing stakeholders to take actions to promote it.
Expression method and aesthetic expression of fashion design from different essential perspectives is the main focus of this study. From ancient times to the present, people's pursuit of the natural beauty of clothing has been expressed in both the East and the West. The multi-dimensional evaluation model of clothing beauty combines various factors. It is a comprehensive evaluation model of clothing beauty. By using scientific calculation methods to evaluate clothing beauty in multiple dimensions, it helps to better integrate design into art and life. The real meaning of the beauty of simplicity in fashion design lies in respecting the existence of natural forms and focusing on the harmony of nature.
This article reports on and analyzes the experience of undergraduate Industrial Arts Graphic Design students autonomously planning and holding an event (préocupe) using action research methods to address two issues: fragmentation of the student body and the feeling of inadequacy. By framing Vieira Pinto’s concepts of 'work' and 'critical consciousness', this research confirmed that students’ existential reality is akin to that of the working classes: they both work for others when performing their regular activities. The paper presents the statements of students gathered in a collective interview to demonstrate that préocupe instantiated the pedagogical essence of striking: developing the class’s critical consciousness. This work pertains to other initiatives challenging the spread of neoliberal education worldwide, and is a meaningful contribution to critical pedagogy practices in design education, with accounts of students developing both operational graphic design skills and critical consciousness autonomously.
Este artículo relata y analiza la experiencia de los estudiantes de Diseño Gráfico para las Artes Industriales que planifican y realizan de forma autónoma un evento (denominado préocupe) utilizando métodos de investigación-acción para abordar dos asuntos: la fragmentación del alumnado y el sentimiento de inadecuación. Enmarcando los conceptos de “trabajo” y “conciencia crítica” de Vieira Pinto, esta investigación confirmó que la realidad existencial de los estudiantes es afín a la de las clases trabajadoras: ambos grupos trabajan para otros cuando realizan sus actividades habituales. El artículo presenta las declaraciones de los alumnos, tal como fueron recogidas en una entrevista colectiva, para demostrar que el préocupe instanciaba la esencia pedagógica de la huelga: desarrollar la conciencia crítica de clase. Este trabajo se relaciona con otras iniciativas que desafían la propagación de la educación neoliberal en todo el mundo y es una contribución significativa a las prácticas de pedagogía crítica en la enseñanza del diseño, con relatos de estudiantes que desarrollan tanto las habilidades operativas del diseño gráfico como la conciencia crítica de forma autónoma.
This research reports on a democratic design experiment organized by design students to unleash radical imagination in metadesign regarding the contemporary body and its political identity often underestimated. The socially engaged design practice welcomed dissensus as a source of creativity and diversity, it emerged from the activation of the political body as a fulcrum for collectively imagining future scenarios.
La colonización de la subjetividad es una captura que posibilita los actuales fenómenos globales de obediencia inconsciente y apego a ciertas estructuras de poder, que operan como un orden que va en contra de los intereses de poblaciones enteras. Colonización de la subjetividad y obediencia inconsciente son dos categorías que surgen de nuestro trabajo de investigación, caracterizan a la subjetividad neoliberal y dan cuenta de que neoliberalismo y democracia se excluyen.
Recent literature on Participatory Design describes the act of designing coalitions around a matter of concern. This paper challenges the notion of concern as the ontological basis of coalitions. Coalitions are, in fact, political organizational forms that have a long history in civil rights movements, characterized by the provisional union of different oppressed groups in times of intense repression. According to feminist literature, what unites people in feminist coalitions are matters of care and not matters of concern. Following this shift of perspective, this research critically revises the notion of designing coalitions while analyzing a codesign project for increasing women coffee workers' visibility in a particular region of Latin America.
Resumo Este artigo intenta analisar como as funções do desenho cambiaram para um disciplinamento do corpo no âmbito escolar, imbricado à Revolução Industrial. Em outras palavras, como as práticas de desenho, imersas em processos de disciplinarização, abandonaram as finalidades e a configuração de seus diversos campos sociais de origem para incorporar-se e sujeitar-se às finalidades escolares. O que reforça a compreensão de que os saberes escolares são gerados em meio a práticas, experiências e questões que uma sociedade se impõe como verdades e normas sociais, políticas e culturais.
This roundtable was conducted by the eight founding members of Decolonising Design Group in October 2017, using an online messaging platform. Each member approached design and decoloniality from different yet interrelating viewpoints, by threading their individual arguments with the preceding ones. The piece thus offers and travels through a variety of subject matter including politics of design, artificiality, modernity, Eurocentrism, capitalism, Indigenous Knowledge, pluriversality, continental philosophy, pedagogy, materiality, mobility, language, gender oppression, sexuality, and intersectionality.
This article explores a fallacy, known as “gender ideology”, that came to the surface in the discussions about the current Education Plans. It revisits international and national frameworks arising since 1948 on human rights and education, gender equality and the eradication of discrimination and violence based on gender, sexual orientation and gender identity. Arguments made by reactionary and/or uncritical segments of society against the inclusion of these themes in the Education Plans are examined. The article concludes by pointing to the need for other sectors to become engaged in order to reduce bias and contribute towards Brazilian Education incorporating gender equality and respect for sexual diversity.
Hélio Oiticica e Lygia Clark, expoentes do experimentalismo nas artes plásticas nos anos 1960 e 1970 no Brasil construíram percursos que nasceram na pintura e se projetaram para o espaço tridimensional. Cada um a seu modo construiu intenso cruzamento arte-vida e ambos nutriram grande admiração mútua. Como vetor motriz comum, o conceito de “não-objeto” formulado pelo crítico Ferreira Gullar os articula na superação de uma arte de cunho geométrico-representacional para a proposição de experiências artísticas vivenciais centradas no corpo.
É no sentido desses fluxos que aparecem em suas obras as noções de “arquitetura”. O texto centrará foco em um corte estratégico que passa por proposições realizadas em torno de 1969; estas não só apresentam inegável sincronia quanto às questões relativas ao aspecto arquitetural, como constituem visadas privilegiadas da totalidade das reflexões que os artistas processaram. O recurso à referência a algumas obras anteriores que realizaram decorre do entendimento que se tem delas como desdobramentos de totalidades (Merleau-Ponty, 1990) e, como tais, são germinação em potência das proposições foco deste texto.
The design studio is the standard approach for interaction design education in the Global North. Nevertheless, in the Global South, this approach is not directly applicable due to authoritarian educational systems founded on colonialist ideologies. This research reports on an attempt to appropriate the design studio and fundamental interaction design concepts in Brazil. Following the anthropophagy tradition of hybridization, the foreign concepts were not rejected but devoured and digested together with Global South concepts, such as radical alterity, mediation, and oppression to form what we call the anthropophagic studio. The process gradually revealed to students and researchers the role of interaction design in reproducing other historical oppressions beyond colonialism. This finding points to the need for a critical pedagogy that can aptly tackle technology-mediated oppression.
Este artículo tiene como objetivo analizar la enseñanza del diseño através de estúdios decoloniales. Esto para demonstrar como la colonización de subjetividades interfiere en la enseñanza del diseño y su proceso creativo. Para basar teóricamente los estúdios decoloniales se utilizaron las investigaciones de: Nora Merlin (2019), Victor Kon (2019), Ramón Cabrera (2019), Maria Rita Kell (2019); mientras que, para apoyar la enseñanza del diseño se basa en el trabajo de Ana Mae Barbosa (2008), Lina Bo Bardi (1994) y Adélia do Vale Araújo Cordeiro Almeida (2019). Los análisis revelaron que la colonización todavía interfiere en la comprensión del diseño brasileño y en la elaboración de cursos de diseño, lo que causa um prejuicio con respecto a un proceso creativo autónomo que permite el desarrollo de lenguajes de autor.
Risk in education in the creative field of communication design is usually seen in connection with creativity as subjective expression and innovation as desired impact. This article positions risk in relation to the political in design education. It puts forward the argument that a particular type of risk-taking in education can work towards shifting design from a position of a service-providing activity towards a more emancipated practice, which would not comply with the pressures of neoliberal capitalism. To counter the current state of compliance this article suggests a three-level model of extradisciplinary risk-taking as institutional critique. The case of Memefest and Design Futures is discussed. Theoretical analysis is combined with (auto) ethnography and qualitative research.
In The End of the Cognitive Empire Boaventura de Sousa Santos further develops his concept of the "epistemologies of the South," in which he outlines a theoretical, methodological, and pedagogical framework for challenging the dominance of Eurocentric thought. As a collection of knowledges born of and anchored in the experiences of marginalized peoples who actively resist capitalism, colonialism, and patriarchy, epistemologies of the South represent those forms of knowledge that are generally discredited, erased, and ignored by dominant cultures of the global North. Noting the declining efficacy of established social and political solutions to combat inequality and discrimination, Santos suggests that global justice can only come about through an epistemological shift that guarantees cognitive justice. Such a shift would create new, alternative strategies for political mobilization and activism and give oppressed social groups the means through which to represent the world as their own and in their own terms.
In this text we are reporting back on the practice-based research project Precarity Pilot. The starting point for this research is the fact that in today’s Europe, design graduates are entering into a landscape of precarious work. This research-in-progress thus enquires into how formal and informal design education can be a space where to empower young designers to transformatively engage with the precarious work politics of their profession. As a mid-way result, here we present a series of didactic proposals and strategic questions for how issues of socio-economic precariousness can be transformatively addressed. This result is based on a series of half-day workshops we have been running between 2014 and 2016 with design students, recent graduates and design educators in the United Kingdom, Germany, Poland and Italy. We address these proposals to educators, managers and students alike as we are convinced that everyone involved in education has agency over how the learning process unfolds.
Design Livre is a conversation about creative ways of resisting the bad effects of globalization, such as technological dependence. This article tells the story of how this conversation started, where is it going now, and what is the relevance of its underlying topics.
Augusto Boal's workshops and theatre exercises are renowned throughout the world for their life-changing effects. At last this major director, practitioner, and author of many books on community theatre speaks out about the subjects most important to him - the practical work he does with diverse communities, the effects of globalization, and the creative possibilities for all of us.
For more than four decades, participatory design has provided exemplars and concepts for understanding the democratic potential of design participation. Despite important impacts on design methodology, participatory design has, however, been stuck in a marginal position as it has wrestled with what has been performed and accomplished in participatory practices. In this article, we discuss how participatory design may be reinvigorated as a design research programme for democratic design experiments in the light of the decentring of human-centredness and the foregrounding of collaborative representational practices offered by the ANT tradition in the tension between a parliament of things and a laboratory of circulating references.
The globalization of the world is, in the first place, the culmination of a process that began with the constitution of America and world capitalism as a Euro-centered colonial/modern world power. One of the foundations of that pattern of power was the social classification of the world population upon the base of the idea of race, a mental construct that expresses colonial experience and that pervades the most important dimensions of world power, including its specific rationality: Eurocentrism. This article discusses some implications of that coloniality of power in Latin American history.
O artigo aborda certas relações do artista plástico Hélio Oiticica com a dimensão "popular" da cultura brasileira no período entre 1964 e 1968 tal qual expressas em alguns de seus textos e obras de arte. Freqüentemente depreciada como algo atrasado ou idealizada do folclore, a imagem do "povo" no Brasil sempre foi construída pelo olhar distanciado da cultura "oficial" dominante. Ligada ao cenário político-cultural dos anos sessenta, a "anti-arte" de Oiticica foi uma das manifestações artísticas que contestaram a simultânea idealização e exclusão da cultura popular pelo discurso nacionalista e identitário, procurando antes compreender e assimilar seu potencial criativo e transgressor. Transpondo tanto convenções sociais quanto artísticas, tal atitude se oporia aos preconceitos e imagens populistas do Brasil.
This article examines the reflective turn in student education. It draws on Foucault (1977, 1979, 1980) to analyse a student response questionnaire using a methodology derived from textual analysis. The articles investigates the idea of self-governance and situates the student within a regime of self-examination and self-surveillance. This is linked to a notion of power that operates from within the student, rather than from above. In the process of becoming a ‘student subject’ the student becomes a self-monitoring agent. The author argues that the imperative of confession is used to situate the student within a particular nexus of power. The article interrogates the idea of the rational subject of the enlightenment that is constructed by the questionnaire, and argues that the ‘student’ is a product of discursive educational practices. The notion of learning that is implied by the questionnaire does not directly address issues of class and cultural capital, but these issues can be unpacked from the questionnaire, which also offers up an idealized, masculinized subject position for the learner.
If design used to be a matter of physical form, its subject the material object, it now increasingly seems to be about the user and her experiences. A central problem with this development is the confusion between what we are designing and who is going to use it—the shift towards user design. Trying to optimise fit on basis of knowledge about use and users, we risk trapping people in a situation where the use of our designs has been over-determined and where there is not enough space left to act and improvise.
Em suas aceleradas transformações, o mundo contemporâneo se apresenta diante dos nossos olhos como algo disforme no qual o designer procura caminhos de atuação. Em nossa tese procuramos investigar, dentro do campo da arte-design, práticas de resistência à sociedade de controle ¿ tal como teorizada por autores como Foucault, Deleuze e Guattari, Negri ¿ a partir da metáfora do monstro, ou melhor de monstruações entendidas como processos que emanam diretamente da vida social e alcançam uma dimensão estética. No primeiro capítulo apresentamos experiências históricas: da mestiçagem tal como concebida por Freyre à antropofagia proposta por Oswald de Andrade para a cultura moderna, passando pelo fricção entre arte e etnografia empreendida por Bataille; e mais tarde, das derivas dos Situacionistas aos happennings dos Tropicalistas, passando pelos Parangolés de Oiticica. Sempre no mesmo capítulo, apresentamos nossa proposta teórica de uma estética constituinte ¿ estética da multidão ¿ assim como hipóteses de outros designs possíveis. Nesse sentido, pesquisamos no segundo capítulo práticas estéticas de um precariado constituído por movimentos sociais urbanos ¿ Sem Teto, Sem Emprego e Sem Máquinas Expressivas ¿ em luta nas metrópoles. Denominamos Multiformances suas carnavalizações, performances e ocupações, e as analisamos a partir da filosofia da linguagem. Contudo, a efemeridade dessas manifestações nos levou a investigar como manter algum nível de mobilização política e de consistência estética para além do evento. No terceiro capítulo, analisamos práticas expressivas constituídas imediatamente nas redes sociais e tecnológicas da internet. Denominamos Plataformas essas práticas que distribuem, dispõem e maquinam o evento estético-político. Sua monstruosa cooperação desafia as capturas que caracterizam o capitalismo contemporâneo, dito cognitivo. Para além de um design engajado, concluímos sobre um design encarnado. In its accelerated transformation, the contemporary world presents itself as something disform in which designers seek ways of acting. In our thesis we investigate, within the field of art-design, practices of resistance to the society of control ¿ as it was theorized by authors such as Foucault, Deleuze and Guattari, Negri ¿ inspired by the metaphor of the monster, or rather by monstruations understood as processes that emanate from social life and achieve an aesthetic dimension. In the first chapter, we present a few historical experiences: the miscegenation as conceived by Freyre, the friction between art and ethnography undertaken by Bataille and the antropofagia as proposed by Oswald de Andrade for modern culture; and later, derives by the Situationists, parangolés by Hélio Oiticica and happennings by the Tropicalists. In the same chapter, we present our theoretical proposal of a constituent aesthetics ¿ aesthetics of the multitude ¿ as well as hypotheses of other possible designs. Accordingly, in the second chapter, we search for aesthetic practices of a precariate constituted by urban social movements ¿ Homeless, Jobless and Medialess ¿ fighting in the metropolis. We call Multiformances their carnivalizations, performances and squattings, and we analyze them with the philosophy of language. However, the ephemerality of these manifestations led us to investigate how to maintain some level of political mobilization and aesthetic consistency beyond the event. In the third chapter, we analyze expressive practices incorporated immediately in social and tecnological networks of the Internet. We call Platforms these practices that distribute, dispose and machinate aesthetic-political events. The monstrous cooperation of the multitude challenges contemporary capitalism, known as cognitive. Aside from an engaged design, we conclude on an incarnated design.
Mixed media artwork made with colored pencils, sewing thread, and typewriter on paper
- R Angelon
Angelon, R. (2020), 'Mixed media artwork made with colored pencils, sewing
thread, and typewriter on paper', Confrontalab, https://sites.google.com/
view/confrontalab/turma-02. Accessed 5 March 2021.
Situação da Vanguarda no Brasil
- Anon
Anon. (1979), 'Situação da Vanguarda no Brasil', Revista Arte em Revista, 1:2,
May-August, n.pag.
A estética dos monstros e sua incompatibilidade com o mercado artístico
- V L Souza
- De
Souza, V. L. de (2016), 'A estética dos monstros e sua incompatibilidade com
o mercado artístico', XXV Encontro Anual da Compós, Goiânia, Brasil, 7-10
Manifesto Antropofágico
- O Andrade
- De
Andrade, O. de (1928), 'Manifesto Antropofágico', Revista de Antropofagia, 1:1,
pp. 3-7.
Descoberta da África
- O Andrade
- De
Andrade, O. de (1972), 'Descoberta da África', in O. de Andrade, Obras
Completas VI: Do pau-brasil à antropofagia e às utopias, Rio de Janeiro:
Civilização Brasileira, n.pag.
O corpo de Frankenstein e sua anatomia gráficotextual
- M N Beccari
Beccari, M. N. (2018), 'O corpo de Frankenstein e sua anatomia gráficotextual', Estudos em Design, 26:1, pp. 178-94.
Uma introdução à história do design
- R Cardoso
Cardoso, R. (2008), Uma introdução à história do design, São Paulo: Editora
Blucher.
Escritos sobre ensino de Design no Brasil
- R M D S Couto
Couto, R. M. D. S. (2008), Escritos sobre ensino de Design no Brasil, Rio de
Janeiro: Rio Books.
Notes on design education and (prefigurative) work politics', Art, Design and Communication in Higher Education
- B Elzenbaumer
- F Franz
Elzenbaumer, B. and Franz, F. (2017), 'Notes on design education and (prefigurative) work politics', Art, Design and Communication in Higher Education,
16:1, pp. 117-23.
Labor of Dionysus: A Critique of the State-Form
- M Hardt
- A Negri
Hardt, M. and Negri, A. (1994), Labor of Dionysus: A Critique of the State-Form,
Minneapolis, MN: University of Minnesota Press.
Leviathan: With Selected Variants from the Latin Edition of 1668
- T Hobbes
Hobbes, T. ([1668] 1994), Leviathan: With Selected Variants from the Latin Edition
of 1668, Indianapolis, IN: Hackett Publishing.
Hélio Oiticica: Cor, imagem, poética
- C Oiticica Fo
Oiticica Fo, C. (2003), Hélio Oiticica: Cor, imagem, poética, Rio de Janeiro: Centro
de Arte Hélio Oiticica.
Artículo El Retorno Del Monstruo: Potencia Subversiva' ('The return of the monster: Subversive power')
- M Rojo
Rojo, M. (2019), 'Artículo El Retorno Del Monstruo: Potencia Subversiva' ('The
return of the monster: Subversive power'), Revista Exotopías, 1:1, pp. 77-87.
Expressões do monstruoso precariado urbano: Forma M, multiformances, informe
- B Szaniecki
Szaniecki, B. (2008), 'Expressões do monstruoso precariado urbano: Forma M,
multiformances, informe', Lugar Comum, 25:26, pp. 223-36.
Uma Concretude Fugidia
- C A Vassão
Vassão, C. A. (2007), 'Uma Concretude Fugidia', in W. Garcia (eds), Corpo e
Mediação, São Paulo: Nojosa, n.pag.
Arquitetura livre: Complexidade, metadesign e ciência nômade', doctoral thesis
- C A Vassão
Vassão, C. A. (2008), 'Arquitetura livre: Complexidade, metadesign e ciência nômade', doctoral thesis, São Paulo: Departamento de Faculdade de
Arquitetura e Urbanismo, Universidade de São Paulo.