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Occhio, Libro, Contenuto Sintesi Visiva Per Un Cartaceo Più Appetibile

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Occhio, Libro, Contenuto Sintesi Visiva Per Un Cartaceo Più Appetibile Occhio, Libro, Contenuto Sintesi visiva per un cartaceo più appetibile Candidata: Lucia Marchetti Relatore: Emmanuel Crivelli Correlatore: Michele Amadò Tesi di Bachelor 2015 SUPSI - DACD - CV3 - A.A. 2014-15 Lucia Marchetti Occhio, Libro, Contenuto Indice Abstract, domande 5 Ipotesi 6 1. “Il problema del futuro non è il digitale, 7 ma appunto l’esistenza dei lettori” 1.1 I lettori 1.2 La produzione 1.2.1 Narrativa e libri per ragazzi 1.3 Le cause del declino 2. La rivoluzione digitale 11 2.1 La produzione 2.2 “Il peggior nemico del libro cartaceo? Il mercato!” 3. Digitale VS Cartaceo 13 3.1 Vantaggi e svantaggi del digitale 3.2 Lati negativi del digitale 3.3 Lati negativi del libro cartaceo 3.4 Lati positivi del cartaceo 4. La domanda del lettore 19 5. Il paratesto come strumento 21 comunicativo del libro 5.1 Il Paratesto: peritesto ed epitesto 5.1.1 Le soglie del libro 5.1.1.1 Il formato 5.1.1.2 La copertina e gli annessi 5.1.1.3 Il vestito editoriale 5.1.1.4 Il colophon 5.1.1.5 Il marchio editoriale 5.1.1.6 Il frontespizio 5.1.1.7 La Prière d’insérer 5.1.1.8 Cataloghi, manifesti e prospetti 6. Sintesi narrativa 33 6.1 Sintesi narrativa delle immagini 6.2 Frammentazione 6.3 Sintesi dei “140” 6.3.1 #TwLetteratura 7. Grafica e letteratura 40 8. Progetto 42 9. Conclusioni 83 10. Il libro a cavallo dell’era digitale 85 11. Bibliografia 91 12. Sitografia 93 Lucia Marchetti Occhio, Libro, Contenuto Abstract e domande Abstract delle tempistiche di assunzione dei con- Gli aspetti di un artefatto editoriale che tenuti testuali. Per questi motivi credo sia a primo impatto possono essere sottovalutati opportuno porre l’accento sulla prima fase di sono quelli legati alla storia e alla società dai contatto che il lettore ha con il libro. Così ho quali esso deriva. Il libro è figlio del suo tem- intrapreso inizialmente la ricerca degli stru- po, degli usi e costumi di una popolazione. menti di comunicazione che il libro adotta Oggi, schiacciati dalle frenetiche infor- per sua natura. mazioni dei mass media, i livelli di attenzione Infine, la passione per l’innovazione mi sono sempre più ridotti, ed è forse questo un ha portato a sostenere una tesi e un prodot- motivo che ha portato il mondo cartaceo ad to, dei quali sono autrice e allo stesso tempo essere surclassato da quello digitale. rappresento un potenziale target. Senza cadere nei più banali stereotipi di schieramento dal lato del prodotto cartaceo, ho preso in considerazione le peculiarità di Domande uno e dell’altro mondo. Nella società di oggi guidata dai ritmi Inizialmente mi sono posta alcune delle e strumenti introdotti dall’avvento del domande più condivise oggi, frutto dell’in- digitale, come può la comunicazione visiva fluenza digitale: nobilitare l’“oggetto – libro”, l’interesse per Come reagisce il libro cartaceo all’intro- il volume cartaceo e la sua fruibilità? duzione dell’e-book? Quali sono le caratteristiche dell’ “ogget- Come rendere visivamente rintracciabi- to-libro” che possono essere messe in luce li i contenuti di un libro, integrandoli visiva- proprio grazie alla venuta del digitale? mente alla forma (la copertina, ad esempio) La tesi che sostengo presenta una possi- del libro stesso? bile via di sviluppo dell’immagine attribuita al libro cartaceo. Essa non parla quindi di “estinzione dell’editoria cartacea”, ma parla piuttosto di “ottimizzazione”. Questo mio pensiero si presenta senza alcuna pretesa di stravolgimento dell’approccio editoriale. Per sviluppare il progetto ho tenuto conto delle norme che regolano la forma del libro da secoli. Esso poggia su queste regole, mettendole in relazione con i cambiamenti 5 Lucia Marchetti Occhio, Libro, Contenuto Ipotesi La rappresentazione visiva prevede una Anche le avanguardie del Novecento lettura simultanea dei contenuti. Nel campo hanno realizzato opere analoghe. Sia, ad dell’editoria essa può rivelarsi uno strumento esempio, i cubisti e i futuristi catturano in utile per informare il lettore riguardo il gene- un’unica tela diversi punti di vista e differen- re di testo e al contempo i principali conte- ti momenti della giornata. nuti. La copertina, sia cartacea che digitale, Ai fini di rispondere alla domanda di può rappresentare una sintesi simultanea ricerca deve però prevalere la comprensi- visiva che introduca i contenuti emergenti bilità e la rapida decodifica degli elementi dell’opera. Presentando il libro (e per questa visivi, come non sempre accade nei linguaggi tesi ci si soffermerà sul romanzo, tenendo in avanguardistici. considerazione diversi generi) con la mappa Per impostare un modello di sintesi visiva del testo è possibile catturare l’occhio visiva comprensibile è necessario analizza- dell’osservatore in modo rapido, e rapida re ogni elemento del contenuto del testo. sarà la comprensione dei contenuti principali Suddividendo l’opera in categorie (assiomi presenti nel testo. o nuclei narrativi), e dando loro un diverso Alcuni grandi artisti che vissero a peso, è possibile tracciare – con il sistema se- cavallo del 1200 e il 1400, come ad esempio gnico visivo (formema, testurema, cromema) Duccio di Buoninsegna e Giotto, e in seguito – un’unica struttura visiva che sia intuitiva, Piero della Francesca, ed altri, realizzavano chiara e d’impatto. le immagini come historia figurata. Per stare al passo con l’era digitale A differenza delle moderne illustrazio- verranno analizzate le strategie di marketing ni, la rappresentazione globale, istantanea, di editoriale affiancate alla comunicazione con una intera narrazione veicolava i contenuti il pubblico (/cliente ultimo). Attraverso un del testo senza un supporto significativo da confronto fra i tempi e i modi di fruizione parte della parola scritta. dei contenuti nel mondo digitale e in quello Questo comporta, nelle immagini, una cartaceo, la sintesi visiva formulata potrà compresenza di personaggi in tempi e luoghi essere applicata a entrambi i canali. differenti in un’unica icona. 6 Lucia Marchetti Occhio, Libro, Contenuto 1. “Il problema del futuro non è il digitale, ma appunto l’esistenza dei lettori” Prima di andare a parlare dell’ ’oggetto-libro’ che sta al centro della discussione, è opportuno impostare una premessa. La seguente premessa ha un ruolo di cornice per il quadro totale che si andrà a creare. Facendo particolare riferimento all’articolo Editoria: in Italia sempre meno lettori. E se fosse colpa dei libri?, in questa prima fase di ricerca si analiz- 1- Questo termine è preso in zano, attraverso documenti e dati concreti, quelli che sono gli andamenti più o meno co- prestito dall’articolo Editoria: 1 in Italia sempre meno lettori. scienti del lettore riguardo la sua ’desertificazione progressiva’ . Si cercherà quindi di formu- E se fosse colpa dei libri? di lare e motivare alcuni presupposti relativi la situazione attuale del mondo editoriale. Luca Formenton pubblicato su ilfattoquotidiano.it (7 gen- naio 2014). Luca Formenton è editore de il Saggiatore, vi- 1.1 polazione femminile legge almeno un libro cepresidente della Fondazione I lettori all’anno, mentre di quella maschile legge solo Arnoldo e Alberto Mondadori ed editore fino al 2008 di Oltre alla problematica nata dall’in- il 34,5%. I soggetti che in questa categoria Diario della Settimana). troduzione del prodotto digitale, che verrà leggono di più sono i bambini dagli 11 ai 19 affrontato successivamente, in questi anni anni, infatti ben il 50% di loro legge. Si tratta il campo editoriale deve fare i conti con la quindi della fascia d’età più attiva. variazione del numero di lettori. Restando nell’ambito dell’infanzia, Per quello che riguarda l’Italia, la emerge un’influenza rilevante, sia essa positi- minaccia è urlata a gran voce dai dati ISTAT va sia essa negativa, da parte dei genitori ver- (Istituto nazionale di statistica) e AIE (Asso- so i figli, nei confronti della lettura. Oltre alla ciazione Italiana Editori) i quali documenta- rilevanza dei dati ISTAT, anche la maggior no un calo progressivo dei lettori dal 2010 ad parte degli editori sostiene che l’educazione oggi. È necessario approfondire l’argomento alla lettura nell’ambito familiare rappresenti per spiegare nei dettagli questa affermazione una delle chiavi per mantenere il libro in 2- Tematica affrontata nell’in- spesso oggetto di discussione. vita2. Ancora sulla base di tali dati emerge un tervista fatta a Franco Zambel- loni, e nell’articolo Editoria: in Osservando da vicino le dinamiche caso particolarmente sconcertante: il 9,8% Italia sempre meno lettori. E italiane, la categoria dei lettori che è mag- delle famiglie, vale a dire una famiglia su die- se fosse colpa dei libri? di Luca Formenton. giormente in crisi oggi è quella dei così ci non ha nemmeno un libro in casa, mentre detti ’lettori deboli’. È stata fatta una diffe- il 63,5% ne possiede al massimo 100, che, renziazione all’interno della definizione di ’calcolando un ingombro medio di 30/40 lettore. Il lettore debole è rappresentato da libri per metro lineare, occupano indicativa- 3- ISTAT, La produzione e la quella sezione di ’pubblico’, dai sei anni in mente non più di tre ripiani di uno scaffale’. 3 lettura di libri in Italia 2013- 2014 sù, che legge almeno un libro all’anno per Le conseguenze si rivelano prevedibili: passione, senza tenere conto della lettura il bambino che nasce e cresce in un nucleo legata alla didattica e al mondo lavorativo. familiare di lettori, vale a dire il 66,9%, avrà Infatti, secondo l’ISTAT nell’anno 2013 il più possibilità di rimanere in parte fedele 43% della popolazione dichiara di aver letto al libro cartaceo piuttosto di un individuo i almeno un libro durante l’anno precedente, cui genitori non leggono, ovvero il 32,7%, o di tutta risposta nel 2014 questo dato è sceso peggio ancora non possiedono libri.
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