Design and Emotion: Contributions to the Emotional Design

Design and Emotion: Contributions to the Emotional Design

Paula da Cruz Landim (Universidade Estadual Paulista (UNESP), Brazil)
Copyright: © 2017 |Pages: 18
DOI: 10.4018/978-1-5225-0510-5.ch008
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Abstract

This chapter has the purpose to contribute to the scientific organization and assist in the process of building a theory related to the interrelation of design and emotion. It is intended that the issues addressed here raise discussions and lead to deepening these relations. In this sense this text presents aspects and situations surrounding the design in contemporaneity from, the cultural and economic relations, the meanings of the object and design of products in material culture, the aspects of industrialization and globalization, the senses of excitement and consumption and through the establishment of discourses concerning the design and the role of designers in contemporary.
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Design As A Dynamic Field

The design is constituted by social, economic and cultural transformations. For most people the feeling of well-being relies heavily on the everyday objects that surround them. Things that surround us, our external environment, are an expression of how the older generation lived and how we want to live today. The objects and products that an individual, family, community or society designs, manufactures, and choose and accepts, and how the relation between many of them evolves, reflects equally both individual and social values.

These individual and social values constitute the culture of a civilization and generate behavior patterns, customs and knowledge. Culture is a recurring issue, pointed out by several authors in the conceptualization and in the design definitions. After all, the design operates in the cultural universe, giving shape and establishing the culture.

Designers and researchers set a consonant voice on this subject, and indicate that becomes increasingly important

(...) think the activity and the role of the designer as the result of a global relation, which includes the midst, where the set object is inserted, the collective and the subjectivity, derived of the culture, which is present in the subject's relation with the object (...) (Couto & Oliveira: 1999, 9).

In other words, it can be said that design is culture because it creates and develops an artificial and symbolic universe to the society in which it operates. On the other hand, design is production of culture because it establishes products that are the result of cultural analysis and interpretation.

Gustavo Amarante Bomfim (1953-2005) is considered a pioneer in Brazil in the dissemination of scientific issues and the relation between philosophy and science in the design. On the way of his inquiries this researcher has developed an important study in an attempt to propose guidelines for the construction of a theory of design. Are some of these reflections and thoughts that are presented below in order to elucidate the relation between design and culture and to reflect on the fashion design or the design and the fashion.

This author justifies the intrinsic relation between design and culture from three main arguments. First, design is culture because:

(...) is an activity that configures using objects and information systems and, as such, incorporates part of the cultural values that surround it, that is, most of the objects of our midst are first of all the materialization of the ideals and inconsistencies of our society and its cultural manifestations as well as, on the other hand, announcement of new ways. Second, because the design, understood as conformed matter, participates in cultural creation, that is, the design is a praxis that confirms or challenges the culture of a given society, which features a dialectical process between mimesis and poiesis. In other words, the design community expresses the contradictions of this community and will be as perfect or imperfect as it. The Design has thus essentially a specular nature, either as ad, either as a complaint (Bomfim: 1999, 150 and 151).

And ends with the third question:

(...)culture is the expression of self, which manifests itself in all its works and activities is the poetic condition of the spirit in the act to confirm the matter. Design, is therefore not the activity protagonist of the configuration of a complex backdrop composed of political, economic, social, technological variables etc., but rather one of the possible interpretations of the various possibilities offered by these variables. Design is more than the specification of the parts of a whole as the cartesian tradition. It is not a universal rule of configuration, but an interpretive action, creative, that allows diverse forms of expression (Bomfim: 1999, 152).

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