Abstract
This work hypothesizes that !there are several intersections, in various aspects, between art, crafts, design and they contribute to the conceptual evolution of each of the sectors and, at the same time, to the interaction between them”. The scope this study starts from the concern with the concepts related to art, craft and design, their ambiguities, interrelations, connections, in their respective updates during different times, involving actions, technical terms and materials, from social transformations and contextualizations. The methodology used a synthesis and adaptation of the authors: Löbach, Munari and Baxter, in addition to Dijon De Moraes. It is also considered that the concept of design, which has its origins in the Industrial Revolution, already appears in conflict with the artists of that time, which has since provoked discussions, based on the praxis between the roles that would be the artist’s, of the artisan and the designer from that time on. In this study aims to develop some reflections on the concepts related to art, crafts and design and their contexts are presented. As main results, the image, as a visual communication, has different values, depending on the context in which they are inserted, and offer different information. It is worth, in reality, what is “informed” is the larger or smaller set of ideas and these are recognized in larger or smaller ranges. In the same way, they will remain with greater or lesser intensity (condensing or diluting), for a greater or lesser time in people’s image repertoire.
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Notes
- 1.
Nominalism is a doctrine that general ideas, like genus or species, are no more than simple names, with no reality outside the spirit or mind. The only reality is the individuals and objects considered individually. In this way, the universal does not exist by itself: it is a mere name, a word with a general meaning, but without concrete content, which only resides in the individual and in the particular. (Bois apud Figueiredo and Marquesan, 2014: 135).
- 2.
Definition adopted by the United Nations Educational, Scientific and Cultural Organization (UNESCO) at the International Symposium on Crafts and International Markets, Manila Philippines, October 1997.
- 3.
Although the aforementioned text makes reference to the teaching of mathematics, Brousseau’s conception of “context” not only coincides with the same conception in the justification of this study, but also confirms the need for its constant use in the sense of updating and revising concepts. whichever are the same. When dealing with “contextualization”, Brousseau (1996) clarifies the meaning of this work in the knowledge production process.
Here, the proposal is a bibliographical review of the concepts about art, craft and design, its main characteristics and interfaces, with the objective of knowing and analyzing the main existing theoretical contributions on the subject and thus expanding the level of knowledge to respect of these concepts.
Thus, based on the knowledge available about the concepts studied, it will be used as an auxiliary instrument for the construction, substantiation and updating of the same and thus, describe them in contextualized conditions.
- 4.
The meta-project is a space for disciplinary reflection and for the elaboration of the contents of design research. The metaproject is born out of the need for a “knowledge platform” (pack of tools) that supports and guides the design activity in a scenario of constant change. Due to its dynamic character, the meta-project emerges as a design model that considers all possible hypotheses within the design potential, but which does not produce outputs as a single design model and pre-established technical solutions. Metaproject, as noted in this article, is an alternative to design, which opposes the conventional methodology, by constituting a space for reflection and support for the development of the project in a changing and complex scene.
- 5.
P. Le Queau, 2000. L’Imagination et la transcendence in: Cultures et Mouvement in: Cultures et Mouvement, 2000. p.p. 30–34.
- 6.
Gabriel Gatti, Les Socialités Invisibles: L’Aleph et la limite dans la Construction sociologique des Identités Collectives, in: Societés no. 57 – 1997/3:73.
- 7.
M. Maffesoli. Dans le Monde des Apparences, 1999:290.
- 8.
M. Maffesoli applies the logic of identity to replace the logic of identity in modernity, while he correlates the logic of identification to individuals (autonomous and masters of their actions) and the logic of identity to “people” - here characterized as bearers of variable masks, tributary or not of the emblematic systems with which they identify. Au foond des.
Apparences, p. 18.
- 9.
Classes by Bruno Munari at Harvard University – Carpenter Center for the Visual Arts, Cambridge, Massachusetts, period in which his work “Design and Visual Communication” resulted:16.
- 10.
Idem:20.
- 11.
M. Maffesoli, La Conquête du Présent. De l’apparence au cynisme, Paris: Éditions Desclée de Brouwer, 1998, p. 143.
- 12.
M. Maffesoli. O tempo das tribos: o declínio do individualismo nas sociedades de massa. Prefácio do autor, São Paulo: Forense Universitária, 2014.
- 13.
Umberto Eco. A Definição de Arte. Cap. 13. A Forma Formante e o Processo Criativo, p. 19.
- 14.
M. Maffesoli. No Tempo das Tribos. Prefácio.
- 15.
Idem:19.
- 16.
Idem:305.
- 17.
Idem. No Fundo das Aparências, p. 84.
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de Held, M.S.B., de Assunção Alho, C.A. (2023). Considerations Regarding the Concepts: Art, Crafts and Design. In: Raposo, D., Neves, J., Silva, R., Correia Castilho, L., Dias, R. (eds) Advances in Design, Music and Arts II. EIMAD 2022. Springer Series in Design and Innovation , vol 25. Springer, Cham. https://doi.org/10.1007/978-3-031-09659-4_54
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