TESIS DOCTORAL El acto tipográfico. Proyecto, forma y discurso de...
If it is acceptable that we come from a typographic culture, it seems that our common ancestor -the hypothetical McLuhan's Homo Typographicus- has been replaced, a few decades ago, by another species, the Homo Electronicus. May be it is an evolutionary effect propitiated by those digital media...
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| Formato: | Tesis doctoral acceptedVersion |
| Lenguaje: | Español |
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Facultad de Arquitectura, Diseño y Urbanismo
2021
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| Acceso en línea: | http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=aaqtesis&cl=CL1&d=HWA_7250 https://repositoriouba.sisbi.uba.ar/gsdl/collect/aaqtesis/index/assoc/HWA_7250.dir/7250.PDF |
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I28-R145-HWA_7250 |
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Universidad de Buenos Aires |
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Repositorio Digital de la Universidad de Buenos Aires (UBA) |
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Español |
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spa |
| topic |
Tipografía Diseño Tecnología Escritura Lectura Typography Design Technology Writing Reading Investigación Diseño gráfico Enseñanza Educación superior |
| spellingShingle |
Tipografía Diseño Tecnología Escritura Lectura Typography Design Technology Writing Reading Investigación Diseño gráfico Enseñanza Educación superior Longinotti, Enrique TESIS DOCTORAL El acto tipográfico. Proyecto, forma y discurso de... |
| topic_facet |
Tipografía Diseño Tecnología Escritura Lectura Typography Design Technology Writing Reading Investigación Diseño gráfico Enseñanza Educación superior |
| description |
If it is acceptable that we come from a typographic culture, it seems that our common ancestor -the hypothetical McLuhan's Homo Typographicus- has been replaced, a few decades ago, by another species, the Homo Electronicus.
May be it is an evolutionary effect propitiated by those digital media that Roman Gubern described as early as 1984. We postulate that the McLuhan's conjecture or entelechy (reconsidered through critical revision) remains current nowadays, as a tutelary presence, over our ways of conceive, produce, consume and transform the contemporary textual environments.
Almost three decades ago it was announced, in different ways, "the End of Print" (Blackwell, 2000), a dubious and almost impossible to prove oracle. Something has survived, instead, to that unfulfilled Apocalypse: typography itself, mutated and reincarnated in other hardware and media; and with it, all that stuff that is related to the idea of texts devised, planned and built up as graphic spaces. We understand this objects as reading structuring dimension (in all its variety and possible distinctions, those enabled by present technologies as well); what is more, the access to readable information as a whole.
Our statement is that the operations that put together those graphic spaces transcend their historical or material circumstances. There is a complex network of decisions that go from the selection of a font through which one "composes" or types a text to the particular organization that shapes it, that is to say, its form, or social and cultural sense.
This specific design object, the shaped or designed text takes us to wider horizon where it is possible to understand typography anew, in all its cultural and symbolic potential. Form this point of view it is relevant Vilem Flusser's statement "Gutenberg Galaxy draws away into the past, and extends into the future a lot more than McLuhan's belief".
The question about typography should be better understood as one referred to the typographic field, whose description and elucidation is the core for this thesis.
This idea stretches towards a lot of situations and ways of existence that surpass and enriches the usual and restricted thoughts about this matter, typography.
This will be understood not only as the effect of using or designing type (the usual definition in most of the specialized publications); its different and complex levels and senses will be stressed and pointed instead.
The theoretical aim of this work is to move from the consideration of typography as supply, or even a commodity, to the layout of a truly typographic discourse, and its refractions over a lot of questions and meanings that outline a very valuable panorama. |
| author2 |
Russo, Eduardo |
| author_facet |
Russo, Eduardo Longinotti, Enrique |
| format |
Tesis doctoral Tesis doctoral acceptedVersion |
| author |
Longinotti, Enrique |
| author_sort |
Longinotti, Enrique |
| title |
TESIS DOCTORAL El acto tipográfico. Proyecto, forma y discurso de... |
| title_short |
TESIS DOCTORAL El acto tipográfico. Proyecto, forma y discurso de... |
| title_full |
TESIS DOCTORAL El acto tipográfico. Proyecto, forma y discurso de... |
| title_fullStr |
TESIS DOCTORAL El acto tipográfico. Proyecto, forma y discurso de... |
| title_full_unstemmed |
TESIS DOCTORAL El acto tipográfico. Proyecto, forma y discurso de... |
| title_sort |
tesis doctoral el acto tipográfico. proyecto, forma y discurso de... |
| publisher |
Facultad de Arquitectura, Diseño y Urbanismo |
| publishDate |
2021 |
| url |
http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=aaqtesis&cl=CL1&d=HWA_7250 https://repositoriouba.sisbi.uba.ar/gsdl/collect/aaqtesis/index/assoc/HWA_7250.dir/7250.PDF |
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AT longinottienrique tesisdoctoralelactotipograficoproyectoformaydiscursode AT longinottienrique elactotipograficoproyectoformaydiscursodelatextualidadgraficaenlaserasdesureproducibilidadtecnica AT longinottienrique thetypographicactprojectformanddiscourseofgraphictextualityintheerasofitstechnicalreproduction |
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1809320082509135872 |
| spelling |
I28-R145-HWA_72502024-08-16 TESIS DOCTORAL El acto tipográfico. Proyecto, forma y discurso de... If it is acceptable that we come from a typographic culture, it seems that our common ancestor -the hypothetical McLuhan's Homo Typographicus- has been replaced, a few decades ago, by another species, the Homo Electronicus. May be it is an evolutionary effect propitiated by those digital media that Roman Gubern described as early as 1984. We postulate that the McLuhan's conjecture or entelechy (reconsidered through critical revision) remains current nowadays, as a tutelary presence, over our ways of conceive, produce, consume and transform the contemporary textual environments. Almost three decades ago it was announced, in different ways, "the End of Print" (Blackwell, 2000), a dubious and almost impossible to prove oracle. Something has survived, instead, to that unfulfilled Apocalypse: typography itself, mutated and reincarnated in other hardware and media; and with it, all that stuff that is related to the idea of texts devised, planned and built up as graphic spaces. We understand this objects as reading structuring dimension (in all its variety and possible distinctions, those enabled by present technologies as well); what is more, the access to readable information as a whole. Our statement is that the operations that put together those graphic spaces transcend their historical or material circumstances. There is a complex network of decisions that go from the selection of a font through which one "composes" or types a text to the particular organization that shapes it, that is to say, its form, or social and cultural sense. This specific design object, the shaped or designed text takes us to wider horizon where it is possible to understand typography anew, in all its cultural and symbolic potential. Form this point of view it is relevant Vilem Flusser's statement "Gutenberg Galaxy draws away into the past, and extends into the future a lot more than McLuhan's belief". The question about typography should be better understood as one referred to the typographic field, whose description and elucidation is the core for this thesis. This idea stretches towards a lot of situations and ways of existence that surpass and enriches the usual and restricted thoughts about this matter, typography. This will be understood not only as the effect of using or designing type (the usual definition in most of the specialized publications); its different and complex levels and senses will be stressed and pointed instead. The theoretical aim of this work is to move from the consideration of typography as supply, or even a commodity, to the layout of a truly typographic discourse, and its refractions over a lot of questions and meanings that outline a very valuable panorama. Fil: Longinotti, Enrique. Universidad de Buenos Aires. Facultad de Arquitectura, Diseño y Urbanismo. Buenos Aires, Argentina Facultad de Arquitectura, Diseño y Urbanismo Russo, Eduardo Longinotti, Enrique 2021-05-27 Si se acepta que descendemos de una cultura "tipográfica", parece necesario admitir que nuestro ancestro común, aquel hipotético Homo typographicus de Marshall McLuhan ha sido reemplazado, desde hace unas pocas décadas, por otra especie, el Homo electronicus. Se trata, tal vez, de un efecto evolutivo propiciado por los medios digitales que Román Gubern ya describía en 1984. Proponemos que aquella conjetura o entelequia "mcluhaneana", revisada críticamente, sigue vigente hoy en día, como una presencia tutelar, en las maneras que tenemos de concebir, producir, consumir y transformar los entornos textuales contemporáneos. Hace ya tres décadas que fue proclamado, de diferentes maneras, el "fin de lo impreso" (Blackwell, 2000), oráculo de dudosa -por no decir imposible- comprobación. Es evidente, sin embargo, que algo ha sobrevivido a ese apocalipsis no cumplido: la tipografía misma, mutada y reencarnada en otros soportes y medios. Y junto con ella, todo lo implicado en la noción misma de los textos ideados, planeados y construidos como espacios gráficos. Se entiende a esta categoría como una dimensión estructuradora de la lectura (en toda su variedad y distinciones posibles, incluidas las mediadas por las tecnologías actuales) y en general, del consumo de toda información legible. Afirmamos que las operaciones que organizan esos espacios gráficos trascienden, en más de un sentido, sus circunstancias materiales e históricas. Intentaremos señalar la compleja red de decisiones que va desde la elección del repertorio de signos con los que se "compone" (o "tipea" un texto en un ordenador) hasta la que determina su estructura y organización, su forma, es decir, su sentido social y cultural. Este objeto particular del diseño, el texto configurado o diseñado, remite a un horizonte muy amplio en el que es posible volver a entender a la tipografía en toda su potencialidad simbólica y cultural. En esta dirección, es pertinente el comentario de Vilém Flusser (2011), cuando afirma que "la Galaxia Gutenberg se aleja más en el pasado y se prolonga más en el futuro que lo que McLuhan creía". Entenderemos la pregunta por la tipografía como aquella que debería volver a situar la investigación en lo que denominaremos como campo de lo tipográfico, cuya definición y caracterización ocupará una parte importante de esta tesis. Esta noción abarca un espectro de aspectos y modalidades que desbordan y enriquecen toda acepción restricta o especializada del objeto de estudio. Así, la tipografía y su campo no serán entendidos solo como la consecuencia del ejercicio, uso, o incluso, el diseño de tipos, que son los sentidos usuales del término en la gran mayoría de los abordajes y publicaciones genéricas o especializadas. Se apuntará, en cambio, a la complejidad de los distintos niveles de actuación y existencia propios del campo mencionado, que se procederán a señalar, distinguir y discutir. Proponemos, por lo tanto, pasar de la comprensión de la tipografía como componente, instrumento o insumo, a la idea y construcción de un discurso de lo tipográfico que refracta en una multiplicidad de preguntas y consecuencias que consideramos de gran riqueza conceptual. application/pdf Ledesma, María del Valle Bonnin, Juan Eduardo Pujol, Mónica Tipografía Diseño Tecnología Escritura Lectura Typography Design Technology Writing Reading spa Universidad de Buenos Aires. Facultad de Arquitectura, Diseño y Urbanismo info:eu-repo/semantics/openAccess https://creativecommons.org/licenses/by-nc-nd/2.5/ar/ Investigación Diseño gráfico Enseñanza Educación superior El acto tipográfico : proyecto, forma y discurso de la textualidad gráfica en las eras de su reproducibilidad técnica The typographic act : project, form and discourse of graphic textuality in the eras of its technical reproduction info:eu-repo/semantics/doctoralThesis info:ar-repo/semantics/tesis doctoral info:eu-repo/semantics/acceptedVersion http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=aaqtesis&cl=CL1&d=HWA_7250 https://repositoriouba.sisbi.uba.ar/gsdl/collect/aaqtesis/index/assoc/HWA_7250.dir/7250.PDF |