Para uma história de designalidade (original) (raw)

The objective of the thesis was to evince the central position of "designalidade" and "design" in the rationalities that follow Western society since the thirteenth century. The "designalidade" would be the very visible dimension of rationality. That is, the relationship between verbal and pictorial forms of "design" that would give support and be supported by these rationalities, providing the formal specificifity of different times and places. This research has centered on two changes of rationalities. The first is the transition from Christian rationality that has occurred in the twelfth century, of a man crushed by the original sin to a man made by the image and likeness of God. This rationality arising from the Middle Ages would have two major events in Western society. First, the emergence of "drawing" in its Italian nominative forms-the widespread use of "disegno" and "disegnare"-and pictorial tradition of the "look-window", the view as if "it was God's one". This tradition would begin in the thirteenth century and reaches the twenty-first century. The second event made possible by this transition from Christian rationality throughout the new space occupied by the man in an absolute position facing the other earthly beings and things, would be it's adjustment to the demands of organization from the society in the sixteenth century. The reason "man comparable to God" would slip from the explanatory, justification and organizational forms strictly based on faith and Catholic religion, to formulate an economic and political, disciplinary, classicist and scientific of mercantilist Police State in the sixteenth century. The generalized form that the "drawing which make look through" gave to the new Christian rationality and to the emerging organizational form of Police State, between the thirteenth and sixteenth centuries, I've called designalità. The widespread way in Europe since the sixteenth century to conceive the organization of society is no longer dominant in the eighteenth century-but remains as an alternative-through the emergence of new ways of thinking. The mercantilist classic State Police fails to respond satisfactorily to the social, political and economic demands of the European seventeenth and eighteenth centuries scenario and comes to identify with the new form of the modern liberal and economic State-that would become industrial. This time, it is not a change within the strictly Catholic-Christian thought. The Protestant reforms and Catholic Counter-Reform had predisposed different regions and societies to different political, economic and social events. From this change of rationalities would emerge the "design" as a new word and pictorial form widespread from the practices of "drawing". The new way to understand the rationality would be designality. However, the designalità remain, as amended by French academicism in designalité. What we have from the transition between classical and modern designalidades would then be a hybrid designality/designalité form, which would remain so until the beginning of the twenty-first century, where it finally signal evidences of the dominance of designality.