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To browse Academia. Skip to main content. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. Log In Sign Up. Pires Machado. In the contemporary context, it's important to conceive architecture as a multiple system in which several languages, not always belonging to architecture's exclusive domain, allow the conformation of hybrid languages and introduce to other spatiality conceptions.

The intersemiotic approach as a method allows a synchronic thought where there is no separation between seeing, reading and translating forms and objects. Therefore it reduces the gap between thinking and doing by stimulating students to reflect about their own learning process perceptive knowledge.

This argument rests on a concept of architecture as a collaborative process between different disciplines and as an open field. Therefore, this paper proposes a reflection on the insertion of creation into an architectonic dynamic movement in which learners would be capable of developing methods more conformed to their abilities and sensibilities as they experiment and reflect on their own processes.

To investigate the translation processes in architectonic context widens the debate on multiple and hybrid methodologies as they give up the linear logic and turn to a reflex of the relational thought that passes through viewing, interpreting and translating simultaneously.

Based on the contexts and approaches presented in this paper, we intend to widen the debate on critique and creative potential of experimentation processes in architecture in order to reflect on their own methods.

This makes one reflect on the autonomous thought development on architecture. Therefore, we reinforce the idea supported by the architect John Rejduk that advocates as being necessary to take time in thought and experimentation processes. To understand the inseparability between this pair of thought and shape and of aesthetic and poetics opens room for architecture to mix with other languages, codes and channels of architectonic production, thus overcoming the ideia of a static and functional space to a dynamic and diagrammatic approach.

This course is not always outlined by something pre-determined, being, in this way, vulnerable to issues that can arise and alter the way. Heuristics processes demand attention and availability to games of chance. In this way, it is a multiple methodology suitable to the contemporary mode of work.

This approach results in inseparability between experience and reflection. When Pareyson considers the artistic-making as a reflection object he underlines that the making- doing concept [operare, it. For him, there are three aspects that affect and modify this process: content, matter and rules. Content refers to personal knowledge that the artist or the architect amasses during his entire life, his particular way of seeing the world and his personal approach.

Matter refers to the physical matter that is, this way, inseparable from the plastic and technical ability of the individual that creates its transformation. As for the rules, the architecture is different from art because its rule system works within an institutionalized social code and, if that is lacking, communication is lost, whereas art universe is autonomous and based on individual rules.

This does not mean that the architect cannot modify the rules; this paper intends to deal with this issue. However, it is necessary to be more careful with these new articulations so that architecture does not deviate of its social and public function.

Based on this approach, Pareyson defines two different terms that approximate to the translation process and act in a synchronic way: formed [formata, it. Both of them reveal two movements that are present in language philosophy, the first one is upward paradigmatic and seeks quality in thought as this is the result of meditation on our concrete experience; and the second one is downward syntagmatic , since it uses these results to interpret experience and solve problems. Therefore, we conclude that all cognitive process emanates of an interpretation in which the relation between seeing, interpreting and representing creatively translate is closely linked to the concrete and speculative character that exists in the root of philosophical thought.

Creation being a reflection of aesthetic nature always projects in order to increase and overcome the original and, in this way, translation processes, mainly the ones of semiotics nature, can contribute to this debate.

Intersemiotic translation Intersemiotic translation concept was introduced for the first time by Roman Jakobson and, due to the strong relation between linguistics and structuralist theory with the intellectual and artistic Brazilian production in the 60s [4] his work was widened to the visual arts field by the artist, professor and theorist Julio Plaza Again the relationship between aesthetics and poetics, thought and language manifests as inseparable and coordinated by simultaneous processes of selection and combination.

Thought in all virtuality of its concept holds the highest degree of quality because this is sheer feeling. However, adapting itself to laws and rules forces this thought transformed into object from the concrete world to lose quality. Signs are in continuous movement passing from one level to another and leading to thought restructuring and concrete action. The challenging of a creative mind is to concretize the quality of thought into languages as they are the model of translation.

Those basic matrices can be expanded through processes of combination and mixture into an infinity number of supports, means and channels in which languages are materialized and disseminated.

The idea of web thought, hybridism, convergence, saturation, among other terms that exist in contemporarity are a reflex of those processses that work as propeller to an infinite expansion of languages. The sketchbooks would be, thus, a possibility for testing, organizing and reinterpreting ideias using multiple platforms and codes, as nowadays we do not speak only about paper sketchbooks but also about tablets and other digital multiplatform that mix text, image and sound.

Following Michael Foucault, we would have process files working as a kind of experimental diagnostic without undefined time [11]. This diagrammatic possibility of organizing thought is a frequent debate in architecture schools nowadays all over the world and this could lead to looser and more dynamic process of analysis, reflection and project.

Supporting the architecture idea as a compounding, we could widen the field of action of the very own subject by transforming texts, films, art and multimedia works, among other hybrid narration, into objects that are the result of an architectonic creation. We do believe that the project intelligence is not only in its representative quality symbolic , but also and mainly in its iconic quality that allows it to take a qualitative leap and to conceive architecture as an open field.

Petropolis, RJ: Editora Vozes, All translations are my own. Existence, Interpretation, Freedom: select writings by Luigi Pareyson. The Davies Group Publishers, Yale University Press, The first edition was published in The Dominant In: Jakobson, Roman.

Poetry of Grammar and Grammar of Poetry. The Hague: Mouton, In: Teoria da Poesia Concreta. In: Davidson, Cynthia org. Related Papers. By Ines Saber. Peirce and Intersemiotic Translation. By Joao Queiroz and Daniella Aguiar. By Joao Queiroz. By Daniel Pedersen. Intersemiotic translation: transcreation and diagrams. By Leticia Vitral. Download pdf. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link.

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