Marcelo Gonçalves Ribeiro, Julie de Araujo Pires

Entre os limites da [des]construção

Introduction

Entre os limites da [des]construção. Explore a desconstrução no design gráfico e comunicação visual. Revisitando Derrida, o artigo analisa sua aplicação em estudos de imagem e criação, para além de um estilo.

Abstract

É preciso construir para desconstruir? A partir do murmúrio frequente desta afirmativa (aqui convertida em indagação), nas salas de aula e nos ambientes da prática profissional do design gráfico, o presente artigo revisita a teoria de Jacques Derrida com intuito de compreender, para além da visão de um estilo gráfico, de que modo a desconstrução ainda pode ser abordada nos estudos relacionados à imagem e à criação de trabalhos na comunicação visual.

Review

The article, "Entre os limites da [des]construção," immediately captures attention with its thought-provoking title, effectively framing the central tension between construction and deconstruction within a creative context. The abstract articulates a highly pertinent question—"É preciso construir para desconstruir?"—which resonates deeply within graphic design pedagogy and professional practice. By addressing the frequent, perhaps superficial, use of 'deconstruction' as a stylistic descriptor, this paper promises a much-needed theoretical re-evaluation, aiming to uncover its enduring conceptual relevance for image studies and visual communication creation. This article thus positions itself as a valuable contribution, seeking to deepen the academic discourse surrounding a term often misunderstood or diluted in applied creative fields. A significant strength lies in the explicit commitment to revisiting Jacques Derrida's original theory. This engagement is crucial, as it elevates the discussion beyond mere aesthetic trends, grounding the analysis in rigorous philosophical inquiry. For a field like graphic design, where "deconstruction" can often be misinterpreted as solely a visual aesthetic or an act of destruction, the article's intent to explore its deeper operational modes and implications is commendable. By moving "para além da visão de um estilo gráfico," the authors aim to furnish scholars and practitioners with a more robust framework for understanding how deconstruction truly functions in the conceptualization and production of visual messages, fostering a more sophisticated critical lens. To fully realize its ambitious aims, the article would benefit from carefully articulating how Derrida's complex philosophical framework will be translated into practical insights relevant for visual communication. While the abstract signals this intent, the discussion could be further enriched by considering specific conceptual "limits" of deconstruction in a design context, as hinted at in the title. Additionally, even without detailed case studies, providing clear methodological bridges or hypothetical scenarios demonstrating how a deeper understanding of Derridean thought can inform design processes—from ideation to critique—would significantly enhance its applicability. Overall, this promises to be a stimulating and essential read for those seeking to move beyond superficial engagements with deconstruction in creative disciplines.

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