On the concept of graphic memory
In Brazil, since the early 21st century, the expression graphic memory has been used, more and more frequently, in order to refer to a line of studies that aims to understand the significance and value of visual artefacts, in particular of printed ephemera, in the establishment of a sense of local i...
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Universidad Nacional de Colombia - Sede Bogotá - Facultad de Artes - Instituto de Investigaciones Hábitat, Ciudad & Territorio
2017
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| ऑनलाइन पहुंच: | https://revistas.unal.edu.co/index.php/bitacora/article/view/65744 |
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Universidad Nacional de Colombia |
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Online |
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Lena Farias, Priscila |
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Lena Farias, Priscila On the concept of graphic memory |
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Lena Farias, Priscila |
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Lena Farias, Priscila |
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On the concept of graphic memory |
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On the concept of graphic memory |
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On the concept of graphic memory |
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On the concept of graphic memory |
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On the concept of graphic memory |
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on the concept of graphic memory |
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In Brazil, since the early 21st century, the expression graphic memory has been used, more and more frequently, in order to refer to a line of studies that aims to understand the significance and value of visual artefacts, in particular of printed ephemera, in the establishment of a sense of local identity through design.Such artefacts have been, for a long time, ignored by the dominant currents of thought on what design is, and, as a consequence, on what should be part of design history. Other design histories, which include such artefacts, are still to be uncovered and narrated.This paper proposes a reflection on the contexts in which this expression has been used within the field of research on visual artefacts in Brazil, departing from a discussion on the possible connections between the concept with better known concepts, like those of print culture, visual culture, and material culture, setting up a proposal of how the idea of graphic memory can be applied as a strategy to the discovery or construction of histories of graphic and visual design in non-hegemonic countries. |
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Universidad Nacional de Colombia - Sede Bogotá - Facultad de Artes - Instituto de Investigaciones Hábitat, Ciudad & Territorio |
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2017 |
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https://revistas.unal.edu.co/index.php/bitacora/article/view/65744 |
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oai:www.revistas.unal.edu.co:article-657442019-04-09T14:15:35Z On the concept of graphic memory Acerca del concepto de memoria gráfica Sobre o conceito de memória gráfica Lena Farias, Priscila graphic design design history culture Brazil diseño gráfico historia del diseño cultura Brasil diseño historia design gráfico história do design cultura Brasil In Brazil, since the early 21st century, the expression graphic memory has been used, more and more frequently, in order to refer to a line of studies that aims to understand the significance and value of visual artefacts, in particular of printed ephemera, in the establishment of a sense of local identity through design.Such artefacts have been, for a long time, ignored by the dominant currents of thought on what design is, and, as a consequence, on what should be part of design history. Other design histories, which include such artefacts, are still to be uncovered and narrated.This paper proposes a reflection on the contexts in which this expression has been used within the field of research on visual artefacts in Brazil, departing from a discussion on the possible connections between the concept with better known concepts, like those of print culture, visual culture, and material culture, setting up a proposal of how the idea of graphic memory can be applied as a strategy to the discovery or construction of histories of graphic and visual design in non-hegemonic countries. En Brasil, desde principios del siglo XXI, la expresión memoria gráfica ha sido usada, cada vez con más frecuencia, para denominar una línea de estudios que busca comprender la importancia y el valor de los artefactos visuales, en particular, los impresos efímeros, para la creación de un sentido de identidad local a través del diseño. Tales artefactos han sido invisibilizados por mucho tiempo por las corrientes dominantes sobre lo que sería el diseño y, en consecuencia, de lo que debe hacer parte de la historia del diseño. Otras historias del diseño que incluyan tales artefactos aún deben ser descubiertas y narradas.Este artículo propone una reflexión acerca de los contextos en los que ha sido utilizada la memoria gráfica en el campo de la investigación de los artefactos visuales en Brasil, partiendo de una discusión sobre las conexiones posibles con conceptos más conocidos, como los de cultura de la impresión, cultura visual y cultura material, dando ejemplos de investigaciones realizadas, y llegando a una propuesta de cómo la idea de memoria gráfica puede ser adoptada como una estrategia para abordar el descubrimiento o la construcción de historias de diseño gráfico y visual en países no hegemónicos. No Brasil desde princípios do século XXI, a expressão memória gráfica tem sido utilizada, cada vez com mais freqüência, para denominar uma linha de estudos que busca compreender a importância e o valor de artefatos visuais, em particular impressos efêmeros, na criação de um sentido de identidade local através do design.Tais artefatos foram, por muito tempo, desprezados pelas correntes dominantes de ideias a respeito do que seria o design, e, consequentemente, sobre o que deveria fazer parte da história do design. Outras histórias do design, que levem em conta estes artefatos, ainda precisam ser descobertas e narradas.Este artigo propõe uma reflexão acerca dos contextos em que esta expressão tem sido utilizada dentro do campo da pesquisa sobre artefatos visuais no Brasil, partindo de uma discussão sobre possíveis conexões com conceitos mais conhecidos, como os de cultura da impressão, cultura visual e cultura material, dando exemplos pesquisas realizadas, e chegando a uma proposta de como a idéia de memória gráfica pode ser adotada como estratégia para abordar a descoberta ou a construção de histórias do design gráfico e visual em países não-hegemônicos. Universidad Nacional de Colombia - Sede Bogotá - Facultad de Artes - Instituto de Investigaciones Hábitat, Ciudad & Territorio 2017-12-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion artículo de reflexión application/pdf text/html application/xml https://revistas.unal.edu.co/index.php/bitacora/article/view/65744 10.15446/bitacora.v27n4Esp.65744 Bitácora Urbano Territorial; Vol. 27 Núm. 4Esp (2017): Diseño Industrial (Edición especial); 61-65 Bitácora Urbano Territorial; Vol. 27 No. 4Esp (2017): Diseño Industrial (Edición especial); 61-65 Bitácora Urbano Territorial; v. 27 n. 4Esp (2017): Diseño Industrial (Edición especial); 61-65 2027-145X 0124-7913 spa https://revistas.unal.edu.co/index.php/bitacora/article/view/65744/pdf https://revistas.unal.edu.co/index.php/bitacora/article/view/65744/html https://revistas.unal.edu.co/index.php/bitacora/article/view/65744/70294 /*ref*/ASSMANN, J. (1995). “Collective memory and cultural identity”. 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