Detalhes bibliográficos
| Ano de defesa: |
2019 |
| Autor(a) principal: |
RAMOS, Regina Barbosa |
| Orientador(a): |
PRADO, Gilberto dos Santos
 |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Anhembi Morumbi
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| Programa de Pós-Graduação: |
Programa de Pós-Graduação Doutorado em Design
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| Departamento: |
Universidade Anhembi Morumbi::Diretoria de Pesquisa e Pós-graduação Stricto Sensu
|
| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Resumo em Inglês: |
This thesis is built around textile artifacts that had their expected use deviated and started to be used as medium: of resistance, activism or activation. As artifacts of resistance were adopted objects that were deviated from their initial use in a certain way, so they became the symbol of a cause. The approach to textile activism happens from both artifacts and actions. We take the yarnbombing as intervention that provides positioning and the public textile production as the conformation of an area for dialogue. As we speak of activation by Fashion Design, we guide our reading through the collective sustainable production, re-thinking the means to build artifacts, making processes more transparent and suggesting to the consumer to necessarily restructure contemporary economic relations with the general idea of consumption. Such deviations of use are approached from the adoption of three conceptual models, borrowed by us from the visual arts ( Mauricio Ianês’ area of Dialogue and Hundertwasser’s 5 Skins of the Human Being) and from literature (Amos Oz’s better ideas) that help us to design practical procedures for the development of projects in Fashion Design that can be collaborative, co-creative and developed in a collective, and in which the designer can recognize him or herself as a materializer of modes of existence, engaged in processes and projects that produce, in addition to objects, areas in which it is possible to dialogue and, thus, to design an ethical and sustainable environment for their personal, professional and community existence. Finally, we present the experience of LabModAR, a collective initiative based on dialogue and experimentation, coordinated by this author, which aims to exercise ethical and dialogic procedures in Fashion Design through its projects |
| Link de acesso: |
http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1777
|
Resumo: |
This thesis is built around textile artifacts that had their expected use deviated and started to be used as medium: of resistance, activism or activation. As artifacts of resistance were adopted objects that were deviated from their initial use in a certain way, so they became the symbol of a cause. The approach to textile activism happens from both artifacts and actions. We take the yarnbombing as intervention that provides positioning and the public textile production as the conformation of an area for dialogue. As we speak of activation by Fashion Design, we guide our reading through the collective sustainable production, re-thinking the means to build artifacts, making processes more transparent and suggesting to the consumer to necessarily restructure contemporary economic relations with the general idea of consumption. Such deviations of use are approached from the adoption of three conceptual models, borrowed by us from the visual arts ( Mauricio Ianês’ area of Dialogue and Hundertwasser’s 5 Skins of the Human Being) and from literature (Amos Oz’s better ideas) that help us to design practical procedures for the development of projects in Fashion Design that can be collaborative, co-creative and developed in a collective, and in which the designer can recognize him or herself as a materializer of modes of existence, engaged in processes and projects that produce, in addition to objects, areas in which it is possible to dialogue and, thus, to design an ethical and sustainable environment for their personal, professional and community existence. Finally, we present the experience of LabModAR, a collective initiative based on dialogue and experimentation, coordinated by this author, which aims to exercise ethical and dialogic procedures in Fashion Design through its projects |
