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manifesto-me


manifesto-me

Integrados numa sociedade consumista, vítima de si própria e de um conformismo assente no consumo, os designers hoje e sempre têm se centrado na questão de como devem agir e actuar perante a nossa sociedade e qual o nosso dever. Mas porque não nos questionamos primeiro sobre aquilo que somos? O que andamos a fazer e o que fizémos até agora pra melhorar e consciencializar uma sociedade que hoje não consome coisas, mas somente signos? Nesta sociedade imersa em informação desnecessária, o designer deve reconhecer a sua profissão, a sua responsabilidade, e sobretudo a sua capacidade de solucionar

problemas

que

nós

enquanto

humanidade

colocámos perante todos. Deixemos de nos achar as boas pessoas com boas intenções obrigam pa guém

que

que a

são

fazer

estávamos

superior,

corrompidas o

mal.

apenas

porque

E a

isso

por de

seguir não

clientes

utilizar

a

ordens, passam

de

que

nos

desculde

al-

tretas!

Kalle Lasn autor do livro “Design Anarchy”, alerta-nos para a situação que nós enquanto profissionais nos colocámos, e onde acredita que o papel do designer passa por dar força e erguer estruturas que alterem o estado crítico em que nos colocámos a todos.

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introdução

É necessário uma Revolução Cultural, e nós enquanto designers, devemos ser obrigados a fazer parte dela, e ter um papel fundamental na sua idealização. Infelizmente acabámos por perder a missão para a qual o design foi criado, a nossa perda de identidade e de alma no nosso trabalho levou-nos a erguer e

a fortalecer uma sociedade

de consumo e de espectáculo. Onde está a preocupação pela base ética no trabalho que produzimos? A nossa função não pode passar por dar forma a algo desprovido de conteúdo, sabendo nós que essa é uma das principais razões para o consumo frenético e desenfreado existente. E se de algum tempo para cá o design gráfico parece estar pelo senso-comum associado à ideia de coolness e a ideias comercias e de estratégias do enfeite. É nosso deve defender a nossa verdadeira causa, e apresentar estratégias para esse efeito. “I AGAINST I” vai de encontro a esta problemática. Pretende-se apresenta soluções quanto á nossa profissão assente numa cultura comercial de consumo e incentiva-se a tomada de decisões éticas. Apela-se mais uma vez ao reencontro de uma profissão honesta e sincera, onde os nossos princípios passam por entender as verdadeiras necessidades de hoje.

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manifesto-me

Design Anarchy is madness. Choose it only if you’re certain the other options will corrode your soul and give you a bleeding ulcer, only if you know you are among the chosen few designers who hold Prometheus’s holy fire in your hands. You’ll suffer for years and live like a stray dog, but you’ll have the joy of breaking all the rules, of freely mixing art and politics, of pouring your beliefs and convictions into your work. Eventually, if you’re really as brilliant as you think, you’ll have

a

crack

at

pushing

the

AA C

boundaries

of

global

culture

with bold new forms and fresh ways of being.

D

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I G

N

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manifesto

http://www.typoberlin.de/video/ index.php?node_id=76&lang_ id=1&filter_value=Kalle%20Lasn

Armstrong, Helen (ed.2009) -GRAPHIC DESIGN THEORY - Readings from the field

THE FUTURE OF DESIGN. CULTURAL REVOLUTION IS OUR BUSINESS. We are a global network of artists, writers, environmentalists, teachers, downshifters, fair traders, rabble-rousers, shit-disturbers, incorrigibles, and malcontents. We are anarchists, guerrilla

tacticians,

meme

warrior,

neo-

Luddites, pranksters, poets, philosophers, and punks. Our aim is to topple exist-

C

ing power structures and change de way we live in the twenty-first century.

H

We will change the way information flows, the way institutions wield power, the way the food, fashion, car, and culture industries set their agendas. Above all, we will change the way we interact with the mass media and the way in which meaning is produced in our society.

KALLE LASN

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manifesto-me

WE HAVE LOST OUR ...

S

MISSION 6


S T So

N

lI E

N

complemento

U

l

o

RY

Dorfles, Gillo (ed.2001) - AS OSCILAÇÕES DO GOSTO Arte de Hoje entre a Tecnologia e o Consumismo Segunda Parte - Capítulo XIV “Os Perigos da Mecanização”

“Nunca antes de hoje se dera o caso de o homem ser atacado durante as refeições, no comboio, entre a multidão, por uma maré musical e vi-

sual, quase sem ele dar por isso e frequentemente contra o seu desejo.O homem, como jamais no passado, é muitas vezes obrigado a suportar a arte (ou pseudo-arte)(...)

Po

Naturalmente tudo isto não significa negar a enorme importância informativa e até esteticamente informativa dos mass-media e em geral dos meios mecânicos de produção e reprodução, mas significa a necessidade de reparar na substancial diversidade intercorrente entre a obra autêntica e a obra transmitida ou reproduzida”.

L

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manifesto-me

REALITY BRANDING.

Heller, Steven e Véronique Vienne (ed.2003) - CITIZEN DESIGNER “Perspectives on Design Responsability”

Addressing Real Concerns and Real Needs

WE NEED TO FIND MEANING IN OUR WORK (OR AT LEAST TO FEEL AS THOUGH WE’RE DOING NO HARM). “When the design itself is

“Still, without claiming to

visually cool, conceptually

change

witty, or emotionally vivid,

raise the level of integrity

it can give pleasure,

in our piece of it— «think

ofcourse, which isn’t half

globally, act locally.» If

bad. Certainly beautiful or

bad

intriguing graphics are bet-

manipulative, seductive, in-

ter for the environment than

trusive, disproportionate,or

ugly, boring graphics, but

just plain dishonest—is un-

still, in the context of so-

dermining the core values of

cial and cultural responsi-

our World, don’t engage in

bility, so what?

it. Here comes my great, do-

the

world,

communications

we

can

design—

As for influence within the

what-you-can-with-what-you-

brand

really

have manifesto. Let’s start

don’t want to hear this, I

a new movement in design,and

know), design is at the bot-

call it REALITY BRANDING.”

system

(you

tom of the capitalist food chain.

Audiences

neither

know or care who we are. And the people who hire us think that what we do is basically stupid, even though they have fun doing it with us.” «In reality branding, your client’s responsibility - this is really important is to make sure the organization delivers on its promises.»

8

NANCY BERNARD


complemento “In reality branding, your

“You have to commit yourself to seek the truth,

responsibility is to make

illuminate it with decent ethical standards, and

the

advocate it with quiet confidence. Here’s your

communication

200%

real. Don’t make it gener-

mantra:

ic—don’t by any means turn your client into a commod-

Reality branding is honest. It reflects the real

ity—just build your mes-

value of the goods. If the product is frivo-

sage on real value. Make

lous, don’t pretend that it’s serious; if the

it honest. Make it rele-

organizational culture is obsessed with technol-

vant. Avoid hyperbole.

ogy, don’t pretend it’s about people; if someone be

else’s stuff is pretty much the same as yours,

afraid to project a vivid

don’t pretend that it’s unique—find something

personality. And don’t be

else that no one else can claim.

Be

respectful.

Don’t

afraid to let design inform the other disciplines

Reality branding is relevant. It doesn’t decide

in the brand system.”

what it wants to sell, what it wants to do, and what it wants to say, then force people to swallow it. It finds out what is really needed and

“If

we

lie

down,

the

last-link

and

put

all

accept

position, our

energy

into the look and feel of the design object, we’re abrogating

our

gifts,

cheating

our

clients—and

cheating

the

public.

If

contribute

to

we

don’t

decisions gic

about

positioning,

stratepromo-

tional strategy, message, environment of use, product design, and distribution, all we’re doing is dressing

windows.

Strat-

egy, though it may or may not be more intrinsically valuable than design, does have the strongest material

effect

on

people.

It’s also the thing that clients understand,respect and listen to.”

what is really at stake, and then answers that need. (Even if the need is kind of dumb. We need a little dumb sometimes.) Reality branding avoids hyperbole. That handheld isn’t going to “revolutionize business,” okay? Meanwhile, we sort of wish it really would, so we could have an excuse to buy it because it’s so cool. Reality branding acknowledges that kind of truth by saying “this will revolutionize business,” while using voice and visuals in a way that says “we know that you know that we know this is a techno-fantasy.” Reality branding is respectful. It doesn’t propound from on high. It doesn’t cut people down by aggravating their insecurities. Instead, it identifies with real concerns, and talks about them in a down-to-earth way. Sister to sister, Guy-to-guy—it can be heavy, it can be factual, it can be blunt, as long as it’s straightforward. Reality branding has personality. It isn’t faceless, but full-faced: it isn’t institutional, but tribal. It has a story, a mission, a character, a set of ethics and values; it has tastes and preferences. It’s actually different from all the other brands on its block.”

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manifesto-me

HYSTERIA.

Heller, Steven e Véronique Vienne (ed.2003) - CITIZEN DESIGNER “Perspectives on Design Responsability”

Intelligent Design, Not Clever Advertising

«THE DEBATE ABOUT DESIGNER’S RESPONSIBILITY IN SOCIETY TENDS TO GET POLARIZED BETWEEN POWERLESS COMPLICITY AND SOCIAL ACTUALIZATION.» “In an era of inscrutable com-

place. Designer can draft codes of behavior,

plexity, corporate marketing has

make proclamations, sign manifestos, and offer

become

racism,

up ideas and solutions to any number of prob-

sexism, class warfare – you name

lems. In the end, somebody has to buy what they

it, you’ll find it represented

create, or none of it is going anywhere.”

in

the

one-chaos,

corporate

consumerism,

be-

cause virtually everything today is connected to commerce.

“Try

Best of all, marketing is an en-

brands should be memorable because they are

to

make

less,

and

make

it

better;

emy that won’t fight back; it

good, not because they are omnipresent. The

needs you.”

difference between design and advertising used to be that design was informative, not persuasive; compelling, not intrusive; and intelligent, not just clever. What’s the

“Design as a practice doesn’t

difference now? Truth in advertising is an

have much of a conscience, even

oxymoron, but does it have to be in de-

if individual designers do. De-

sign as well? The increasingly personal and

sign

invasive presence of marketing and corpo-

of

Organizations ethical

have

practice,

rules is

rate control in people’s lives has provoked

anyone ever busted for break-

global hysteria. Design has played a part

ing them? For the most part, the

in the problem, but, unlike advertising,

pseudo-profession

design can also help offer an alternative –

of

but

graphic

design does not require a li-

and this time, a real alternative.“

cense because it is satisfactorily regulated by the market-

MR.KEEDY

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conclusão

KALLE LASN

YOU MUST BELIEVE THAT YOU ARE THE CREATOR OF MEANING. »

NOT THE CREATOR OF COOL. »

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REFERÊNCIAS ADBUSTERS.com

// ALEXANDRE FARTO ‘‘Compro logo Existo’’ // BANKSY

BARBARA KRUGER “Remote Control” e “Love for Sale”

// GARY HUSTWIT “Objectified” // GUY DÉBORD “A Sociedade do Espectáculo” HELEN ARMSTRONG “Graphic Design Theory” // JEAN BAUDRILLARD “A Sociedade de Consumo” JEREMY GUTSCHE “Exploiting Chaos” // JORGE ABADE // JOSEPH PINE “What Consumers Want” KALLE LASN “Design Anarchy” e “The Future of Design” // MR. KEEDY “Hysteria” NANCY BERNARD “Reality Branding” // NAOMI KLEIN “No Logo” STEVEN HELLER “Citizen Designer” // STUDIO SMACK “Kapitaal” CHEN HANGFENG “Logomania Brand City

GILLO DORFLES “As Oscilações do Gosto”

TIBOR KALMAN “Designers Stay Away From Corporations That Want You To Lie For Them”

FACULDADE DE BELAS ARTES - UNIVERSIDADE DE LISBOA CURSO DE DESIGN DE COMUNICAÇÂO 3º ANO - 2º SEMESTRE

TIAGO FRANCEZ Nº4798

DC V

I AGAINST I - MA.NI.FES.TO-ME  

MANIFESTO-ME

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