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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| Sumario: | 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. |
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