Senses&Sensibility’13 Proceedings Book

UNIDCOM/ IADE 7th international conference Florianópolis, Brazil | UFSC | November 2013 TITLE: Senses & Sensibility in Florianópolis: Advertising, Design, Fashion, Marketing, Photography and Visual Culture in the Right Place. Proceedings book of the UNIDCOM/IADE’s 7th International Conferece

AUTHORS: Luiz Salomão Ribas Gomez, Amanda Queiroz Campos (Coord.)

COLLECTION: Proceedings das Conferências Internacionais da UNIDCOM/IADE

FIRST PUBLISHED: November 2013

EDITOR: IADE - Creative University/Edições IADE

ISBN: 978-989-8473-11-0

PRINTED IN BRAZIL BY: Gráfica da Universidade Federal de Santa Catarina (UFSC)

CONFERENCE ORGANIZATION: Amanda Queiroz Campos, Eduardo Côrte-Real, Fernando Carvalho Rodrigues, Luciane Maria Fadel, Luiz Salomão Ribas Gomez, Marília Matos Gonçalves, Sarah Schmithausen Schmiegelow

CONFERENCE PROJECT MANAGER: Fernando Carvalho Rodrigues

VISUAL IDENTITY: Fernando Oliveira

BOOK LAYOUT: Sarah Schmiegelow

Apoio Contents

6 Organizing Committee

7 Scientific Committee

8 Foreword

11 Brand and Dynamics: an Analysis of Suggested Movement in Olympic Brands Amanda Machado Zwirtes, Amanda Queiróz Campos. Cristina Colombo Nunes and Richard Perassi Luiz de Sousa.

20 The Online Broadcast of Fashion Trends: MPDClick Website Amanda Queiroz Campos and Richard Perassi Luiz de Sousa

29 The Reshape of Meaning: Design Innovation Grounded in Culture Amanda Queiroz Campos, Sarah Schmiegelow and Luiz Salomão Ribas Gomez

38 Flagship or Concept Store: the DNA of Space Determined by the Sales Point Atmosphere André Luis Carrilho, Amanda Queiróz Campos and Luiz Salomão Ribas Gomez.

45 From Branding to Point of Sale: the Importance of Promoting Multisensory Experiences Carine Adames Pacheco, Luiz Salomão Ribas Gomez, Patrícia Biasi Cavalcanti and Vera Helena Moro Bins Ely

54 External Environment: Discovering Branding Opportunities Daniele Vasques Dutra and Luiz Salomão Ribas Gomez

62 Digital Children’s Books: An Analysis of the eBook-app, The Numberlys from the Perspective of Game Design Deglaucy Jorge Teixeira and Berenice S. Gonçalves

72 Conceptual Project for an Interactive Environment which Creates the “Brasilidade” Experience Dinara Pereira Lima, Igor Drudi, Iuri Alencar and Marcelo Knelsen

80 Package Design Compounding the Brand Imaginary Acquis Eduardo Napoleão, Richard Perassi Luiz de Sousa, and Luiz Salomão Ribas Gomez

90 Wine Consumer Behavior Profile: A Quantity Approach In Florianópolis Érico Fernando Baran Gonçalves

99 Formula of Innovation: Contributions of Methodologies for Construction of a Tool for Innovation in Corporations Francieli Balem and Luiz Salomão Ribas Gomez. 108 Development of 3D Animations to Teach Resistance of Materials – The Impressions of Design Students Gabriel de Souza Prim, Fernando Sharp Jeller, Edmilson Rampazzo Klen

118 Sensory Design Used in Fashion Catalogs Jessica Siewert, Msc. Mary Meürer Lima Vonni

128 A Innovation Model of Visual Management for Projects Applied to the Design Practice Julio Monteiro Teixeira, Eugenio Andrés Díaz Merino, and Giselle Schmidt A. Díaz Merino

137 When I Pop the Top: The Sensibility of Things Keith Russell

145 The Use of Place Branding Practices as a Means of Entering Florianopolis in the Global Innovation Context Laryssa Tarachucky, Douglas Menegazzi, and Luiz Salomão Ribas Gomez

154 Spatiality, Mobility and Technologies: Smart Societies and Collective Action Lucas Franco Colusso and Alice Theresinha Cybis Pereira

164 Graphiatypes: Font Design from Life to Language Luiz Vidal Gomes, Marcos Brod Junior, Ligia Sampaio Medeiros

179 Expanding the Senses of Drawing Through Colour Natacha Antão Moutinho, Maria João Durão

188 Responsive Aesthetics Nil Santana

197 The Continuous Exchange of Past-Present in Videosthetics: An Investigation of Art Video Installations, from Dan Graham to Ahmed Basiony. Nil Santana

205 Design and Consumption: the Nostalgic Relationship amongst the Consumption Habits of the Past and Present in the Day-by-day Higher Education Academics Pablo Eduardo Frandoloso; Daniel Augusto Soares; and Hilário Jr. Dos Santos.

213 Development of Personas as the Basis for Positioning Processes Paulo Fernando Crocomo dos Reis, Dayane Alves Lopes, Sarah Machado Wagner, Luiz Salomão Ribas Gomez, Marilia Matos Gonçalves

220 Symbiosis Between Born and Fabricated Beings: Computing Creativity Pedro Marques 226 Drawings Made by Visually Impaired Persons: an Essential Strategy on Haptic Graphic Design PhD. Gloria Angélica Martínez de la Peña

235 Audiovisual Design: Sound, Visual and Verbal Matrixes in Complex Signs Raquel Ponte, Lucy Niemeyer

244 Editorial Design in Translation from Portuguese to BSL Renata Krusser

253 Innovation by Design – a Case Study of a Leisure Furniture Company from Santa Catarina Roger C. Pellizzoni, Laryssa Tarachucky, Francisco A. P. Fialho and Luiz Salomão Ribas Gomez

261 Emotion, Advertising and Branding: the Identity of Brands Built by Advertising Discourse Sandra Regina Ramalho Oliveira, Alvaro Dias and Richard Perassi

270 Interior Design Contributions for Well-being and Sustainability: Case Study of Hostels in Lisbon Santa Klavina, Ana Margarida Ferreira, and Manuel Duarte Pinheiro

279 Meme Aware: The Influence of Brand Management in the Culture Susana Vieira, Graciela Sardo Menezes, Richard Perassi, Luiz Salomão

288 From Tailors to Gardeners: Shifting Roles for the Design Professionals T. García Ferrari

297 High-Tech Innovation: A Case Study in Made-To-Order Furniture Tatiane De Cássia Ortega Rausch

307 Made In Guarda: Fighting Seasonality Tiago R. Mattozo and Julio M. Teixeira

315 The Use of Augmented Reality For the Sake Of Accessibility Viviane Pellizzon Agudo Romão and Marília Matos Gonçalves

323 The Rules of the Game - Gamification Processes in Building Brands Walter F. Stodieck, Carolline Müller Chaves, and Luiz Salomão Ribas Gomez

333 Index of Authors Organizing Committee

ORGANIZER / GENERAL CHAIR

Professor Luiz Salomão Ph.D. in Industrial Engineering, Universidade Federal de Santa Catarina, UFSC, Brazil Amanda Queiróz Campos Ph.D. Student, Master in Strategic Design Management, Universidade Federal de Santa Catarina, UFSC, Brazil Sarah Schmiegelow Undergraduate Student in Design, Universidade Federal de Santa Catarina, UFSC, Brazil

CONFERENCE CHAIR

Professor Carlos Duarte Ph.D., Associate Professor, Executive Director, IADE, Creative University Professor Eduardo Côrte-Real Ph.D. in Visual Communication in Architecture, Associate Head Department IADE, Creative University Fernando Carvalho Rodrigues Ph.D. Distinguished Professor, Scientific Coordinator of UNIDCOM / IADE, IADE, Creative University

ORGANIZING ASSISTANTS

Diego Piovesan Medeiros Ph.D. Student, Master in Design and Technology, Universidade Federal de Santa Catarina, UFSC, Brazil Sabrina Marcon Costa Undergraduate Student in Fashion Design, Universidade do Estado de Santa Catarina, UDESC, Brazil

BOOK PUBLISHER

Fernando Martins MS in Design, UNIDCOM / IADE, IADE, Creative University

WEBSITE

Pedro Marques MS in Human Computer Interaction, UNIDCOM / IADE, IADE, Creative University

6 Senses&Sensibility’13 Scientific Committee

UNIVERSIDADE FEDERAL DE SANTA CATARINA

• Alice Theresinha Cybis Pereira • Berenice Santos Goncalves • Eugenio Andres Diaz Merino • Francisco Antonio Pereira Fialho • Gilson Braviano • Luciane Fadel • Luiz Fernando Goncalves de Figueiredo • Luiz Salomão Ribas Gomez • Maria José Baldessar • Marilia Matos Gonçalves • Richard Perassi Luiz de Sousa

IADE CREATIVE UNIVERSITY

• Ana Margarida Ferreira • Armando Vilas Boas • Carlos Alves Rosa • Carlos Duarte • Eduardo Côrte Real • Emília Duarte • Helena Pereira • José Ferro Camacho • Maria Helena Souto • Paula Trigueiros • Rodrigo Cunha • Sílvia Rosado • Theresa Lobo

Senses&Sensibility’13 7 Foreword

The Senses and Sensibility. The seventh. They went across the Atlantic and the Equator.

This double S of Senses and Sensibility was the shape of the Maritime route from Florianopolis to Lisbon. That was in the days of sail. That was the sign that was to be written again by the University of Santa Catarina (UFSC) and IADE for the seventh Senses and Sensibility.

The winds and currents drew Senses and Sensibility through the Ocean. Since then we have continued to develop the Art of Science and the Science of Art into Design. We have done so to take out the fog, the midst in the Ocean of Life.

In Life we are always in the face of the unknown variables. Forever we shall be guessing about the… future. Design is about how we can deal with the unknown. How we are stuck in the Present. No one can take away from any of us the Past or the Future. But if we do not Design it, the Present can be stolen from us. That can only happen to the Present. Thus, keep it under control, make it safe. Carpe Diem. Design It.

That is the goal and the thread that weaves the themes of this VIᵗʰ Senses and Sensibility. You may call it fashion design, visual culture, meaning full design, you may add aesthetics, innovation, creativity. You may, even, go about in life in symbiosis between those, like us, that were Born and those that are Made. As a matter of fact, we are learning just how to deal with that. It is so much at its onset that we even call it augmented reality and other nonsensical names. The name, the hidden and true name will be given by the new entity: partly Born, partly Made. We, the Born, are acquainted with that new, that novel Being but we are in all truth far removed cousins. Let these novel Beings evolve both in the Darwinian and Kropotkian sense. If we go down that path, in the end, they will generate their own Senses and Sensibility. They will do it for exactly the same reason we, the Born, do Design: to clarify reality.

Sometimes it has very short characteristic times and we call it fashion. Others the characteristic times are so much longer that we have Designed a Culture.

Sometimes it is space dependent and we will call it local. When combined with time it becomes global.

At that moment the Designer becomes the Maestro: both the Master of Space, the one that sets what materials or whatever are to be placed, and the Marker of the beginning of time,

8 Senses&Sensibility’13 ordering the entrance of the different colours, tones, voices. The Designer is the Integrator.

The search for its Principia has been always present in every Senses and Sensibility. In Florianopolis, in its seventh gathering, we are giving it a new go with a new twist. The double S imprinted in wind and waves of long ago is the very shape that made Design the integrator of global knowledge and the adaptor to the peculiarities of every individual. The dealer, the provider of fashion, where you are, instantaneously, either very right or utterly wrong. But, since changes are so fast, you are bound to be truly right at some instance.

The constructor of a Culture that last millennia and it is both individually and collectively driven.

In all cases the Integral sign, the letter of Sum, of addition, the S, of Senses and Sensibility, will drive you all to weave both a Great event of Discovery and networking where it could only happen in Florianopolis.

UNIDCOM/IADE, Viseu, 27 October 2013

F. Carvalho Rodrigues

Senses&Sensibility’13 9

Brand and Dynamics: an Analysis of Suggested Movement in Olympic Brands

Amanda Machado Zwirtes, Amanda Queiróz Campos. Cristina Colombo Nunes and Richard Perassi Luiz de Sousa. Significação da Marca, Informação e Comunicação Organizacional - SIGMO, Universidade Federal de Santa Catarina - UFSC, Florianópolis, Santa Catarina, 88040-900, Brazil.

Abstract — Currently there is less time for the stories to be told. The graphic brands appear as a synthesis of all that the institutions aspire to represent. In this context, the Olympic events’ graphic brands aim to portray every ideal of sport within the host city location and time of the completion of the games. This dynamic between tradition and contemporaneity motivated this research that aims to analyze the aesthetic and formal changes of Olympic brands. To this end, we have selected three brands of Olympis Games, corresponding to the following years: 1972, 1992 and 2012. Beyond the 20 years that separate one event from the others, all of them occurred in Europe. In this context, we intend to discuss the similarities and differences in the aesthetic-formal strategies adopted in the context of graphic brands’ communication.

Index Terms — brand, visual communication, suggested movement, Olympic brands.

I. INTRODUCTION

This paper intends to discuss issues related to the temporalities of graphic brands, more specifically, the brand of the Olympic games of years 1972, 1992 and 2012, where the expressive strategy relates to the ideology and values in​​ vogue. To this end, we propose a reading of the design object’s essence, highlighting similarities and differences in the symbolic discourse of these brands over time.

II. BASIC ELEMENTS OF VISUAL COMMUNICATION

The studies on composition, expression and communications of the shape or the idea within the cultural production, symbolization and pre-verbal communications processes date of the early years of the 20th Century. They respond to the need of a formal vocabulary that eschews figurative images to communicate. Thus, the theory indicates dots, lines and visual graphic plans as basic elements of shapes composition [1].

Senses&Sensibility’13 11 Dondis [2] attests that every time something is designed, sketched and painted, drawn, scribbled, built, carved or gestured, the visual substance work is composed from a basic list of elements. These elements must not be confused with the visuals materials or means of expression. For authors and also to Perassi [1], the materials are brackets, tools and materials used for the compositions’ construction. The basic elements of visual and graphic representation are those that exist under different visual representations, whereas figurative or metaphorical. These basic features for configuring a composition are the foundation design [4].

From the basic elements, it is possible to express visually uniform plans or represent spots through hatches or dots - composing visual textures. The plot of lines allows the configuration of contours or shapes. The relationships established between the perceptive elements can also demarcate proportions and suggest three-dimensional relationships of depth and volume, among other possibilities.

III. THE VISUAL SUGGESTION OF MOVEMENT

According to Scott [5], movement involves two concepts: change and time. The movement of a composition can be objective or subjective. When subjective, it is the fruit of the perception’s process. In the case of this paper, we will address more specifically the mode of the visual suggestion of the movement - therefore visually perceptive - while conceptual element of design and of graphic arts.

Lupton and Phillips [4] treat the concept of movement in conjunction to the concept of time. According the authors the concepts are strictly related, because any element that moves or alters its position in space also operates temporally. “The movement is one type of change, and all changes happen in time” [5]. What the authors affirm is that the visual suggestion of motion is made perceptible due to the fact that the drawing itself is the motion path graphically registered.

Whatever the composition graphic visual cue, it is possible to identify movement or stagnation suggestion through the disposition and composition of expressive elements. Therefore, some basic principles are applied to suggest or express temporal change and movement. This work will set the visual cue of motion in static media, exempting itself to treat the visual cue of motion and temporality in animations and other media based on time duration.

The presence of diagonal lines or spots gives the sensation of movement. Since they also

12 Senses&Sensibility’13 give the impression of approaching the surface of the screen from the inside or from the outside, depending on the composition and other organization of elements, producing the sensation of intense activity. The sensation of motion is implied by the imbalance of the diagonal line in relation to the orthogonal plane. Thus, those lines precisely indicate movement by a reaction of the reader to seek balance in the off balance line.

Accordingly with the lines or diagonal layout of objects, pointy or triangular shapes are also suggestible of motion and temporality. The arrow-shapes and arrows are also indicative of motion (Lupton and Phillips, 2008). There is also an indication of squiggly and sketched lines as suggestions of visual motion, which record the movement of the pencil, in contrast to designs constructed only by continuous and constants lines that describe static compositions.

More principles that induce the visual perception of motion refer to the effect of explosion and eruption. Authors [1, 2, 4] assert that the repetition of identical shapes or similar shapes in an explosive configuration, in other words, shapes spatially away concentrated in a common center in an orderly manner or not. The idea of explosion as movement may be explicit by the application of bleeding on spots when reaching the edges of the composition.

Another highly movement suggestive element is curviness. Through sinuous and curvy lines, concepts of flexibility, malleability and dynamism are indicated. As implicit suggestion, the sequential repetition of shapes is also highly suggestive of time and movement, insinuating the movement traversed by the shape in the composition and, even, the building process of design. The sequential indication may also be evident in compositions formed by several sequential images, indicating the movements throughout time. Sequentially, the movement may be suggested alterations in position, rotation, scale, shape, color, transparency and deepness.

There may still be a reinforcement movement suggestion when considering the eye movement when navigating the composition. Our eyes follow the lines and figures of the composition, moving in leaps, settling longer in the points of interest, which in turn, hold the gaze of observers by a greater or lesser period of time, giving the notion of temporality and passage time for composition (Scott, 1970).

IV. ANALYSIS OF OLIMPIC BRANDS

This item presents the analysis of three graphic brands of Olympics games held in Europe,

Senses&Sensibility’13 13 with a periodicity of 20 years between them. The purpose of the analysis is to explain the aesthetic and formal strategies adopted to transmitt the feeling and sensation of motion, as described in the item before (III.The visual suggestion of movement), since that characteristic is in accordance with the ideal that the Olympics represent. Each graphic mark will be analyzed individually, considering only the perceived compositional elements, not including in this analysis observations about the historical context, available graphic production techniques and other variables that could have motivated the design of the graphic brand. The focus of this article is the perceived sensation.

A. MUNICH – 1972

The graphic brand adopted for the 1972 Olympics features in its configuration a circle, with white and black stripes in the radial direction, therefore, one may say it has no color. These stripes, however, are interrupted and staggered, creating the illusion of a spiral line. At the base of the graphic brand are the words “Munich1972” expressed in a sans serif font, evident by the the continuous and regular line. The text is spelled with uppercase and lowercase letters without the use of spacing between the city name and the year of the Olympic Games.

The composition of the graphic brand is dominated by spiral curved lines, which induces the viewer’s eye from the center to the outer edge of the figure, in a circular motion that also evokes the idea of ​​growth. This perception is reinforced by the white lines, arranged in radial symmetry, resembling the brightness lighting effect. The explosion effect seems to be controlled by the spiral, which evokes the perception of a limited and orderly growth.

The graphic signature created by Olt Aicher for the Munich Olympic Games seeks to represent, as the designer’s words, the “Radiant Munich”. One may observ in the resultant graphic brand an extreme rationality, where all the expressive elements are adopted with a clear perceptual intentionality: light, movement, volume. The observer, obedient, perceives and identifies the codes, however, is as if the very brilliance emitted by “Radiant Munich” could be controlled. The absence of color reinforces the idea of rationality and control, preventing that some color may elicit an emotional perception.

14 Senses&Sensibility’13 Fig. 1. Graphic Brand of the Munich Olympic Games (1972)

B. BARCELONA – 1992

Barcelona Olympic Games, which took place in 1992, had its graphic brand developed by Josep Maria Trias, a Catalan designer. The brand has a graphical symbol composed of three spots with irregular borders that reinforce their expressiveness and gesture. On the basis of the symbol there is a red elongated spot, as a stroke of irregular thickness, it resembles the characteristic of ink application by a brush. This perception is enhanced by the use of a gray spot on the basis of the trace simulating a shadow, suggesting the volume of the accumulation of ink overlaid on the background. Above the red brush stroke, one may perceive an elongated yellow spot, but this sot is presented in a curved shape. The same say of the expressive resource of the red line may be repeated: jagged edges, thickness variation and the simulation trace of a shadow on the bottom of the dash. The crowning of the symbol is made by a blue spot, smaller than the others and without the elongated appearance, however, the blue spot holds all aesthetic aspects described for the red and yellow dashes [6].

Below the symbol is written “Barcelona’92”. A serif font was used, similar to traditional sources. It uses high and low cases spelled in black. The only peculiarity is the use of the apostrophe, representing the intentional occlusion of the digits “1” and “9” to complete the year of the Olympic Games: 1992. This informality contrasts with the formality of the type font.

The basis of the graphic mark is formed by the Olympic rings, the official graphic brand of

Senses&Sensibility’13 15 the Olympic Games. The rings’ brand is aligned with the text, in a central position.

The graphic brand of the Barcelona Olympics invests in the gesture trace as a movement strategy. It seems possible to imagine a quick overview of the artist, given the expressiveness foisted on the dash of the graphic mark. There is also the illusion of unpredictability, as if the dashes had a life of their own and could have been a little longer, or shorter, or thinner. In brief, the graphic brand suggests a certain degree of formal freedom. The graphic brand alludes to the Catalan art, by recalling their saturated primary colors and simple lines and the production «naïf» of Joan Miró among others.

It is also noticed in the figure the stylized shape of a human jumping. Where the red dash represents the legs, the yellow, the arms and the head is symbolized by the blue stain. This perception reinforces the feeling of instability and movement, because nobody remains static during a jump.

Fig. 2. Graphic Brand of the Barcelona Olympics (1992)

C. LONDRES – 2012

The graphic brand of the London Olympics was developed by the office Wolff Olins. It features five geometric shapes in a sharp tone magenta with a contour line of varying thickness in color yellow. Inside the the top left form one may read in with, using only lowercase letters, the word “london”. The font used has no serifs, has think lines and a slight tilt to the right. In shape right next to that, one identifies the insertion of the Olympic rings without their traditional colors, adopting only white.

16 Senses&Sensibility’13 The composition is structed by diagonal lines in different directions. The absence of a dominant effect gives the impression of a short and discontinuous movement, such that as a vibration. The yellow contour lines reinforces this perception, resembling the photographic capture of a moving object.

The geometric shapes are the stylization of the year of the Olympic Games, 2012. However, the shapes that represent the numerals «2» are different from each other.

The composition has a dynamic equilibrium encouraging the viewer to find the logic, the fitting of the shapes, however, the angles do not adjust. This perception leads to the concept of deconstruction, where the integrity of the object is abandoned and the visual concepts of break and rupture are valued.

Fig. 3. Graphic Brand of the London Olympic Games (2012)

V. CONCLUSION

The present paper, aroused from a group study, aimed to problematize the visual suggestion of movements in graphic brands of Olympic Games of Munich, 1972, Barcelona, 1992 and London, 2012. One noted that the brands, although maintaining as a semblance the sense of motion, have divergences when it comes to how the movement is graphically suggested. That may be justified by the particular theme of each edition of the competition.

In the graphic brand of the 1972 Olympics in Munich the representation of motion was given by a sinuous line ordered as a spiral, a movement totally ordered and predictable, consistent

Senses&Sensibility’13 17 with the utopist vision and the rationalist belief in a future organized and planned, resulting in progress.

The second movement strategy, of the Barcelona Olympics, rescues the use of scribbled and drafted lines, expressing a gestural movement and speed. The movement suggestion in this brand appeals more to the emotional side, creating the illusion of spontaneity, which can be interpreted as representing a time of great optimism. The 1992 Olympics happened right after the end of the Cold War, where for the first time there was no boycott. It also represents the first Olympics after the creation of the European Union. Represents hope for a better future, however, undefined.

The graphic mark the London Olympics, however, uses diagonal lines and sharp forms, with the resource of the explosion, or rather, the moment after the explosion. The graphic brand assumes the cracks, ruptures and the absence of a single correct fit. It represents a contemporary view where hedonism and presentification replaced the great utopias, not presenting only one direction, one way or forecast of how the shapes grow. Their motion is so chaotic, it pulsates the present.

Besides having different themes, each designed brand graphical expresses a cultural context within which they are contemporary.

Thus, it is understandable that each historical period is consistent with a cultural, political, economic and social particular reality. This reality is reflected not only in the transformations experienced by the Olympic Movement, but also in the graphical expressiveness, upgrading, for example, the visual language, as evidenced by the different methods of expressing the concept of motion and movement.

REFERENCES

[1] PERASSI, Richard Luiz de Sousa. Gramática Comparada da Representação Gráfica. In: Revista Convergências, v. 6. Castelo Branco: Instituto Politécnico de Castelo Branco, 2010.PERASSI, 2010).

[2] DONDIS, D. Sintaxe da Linguagem Visual. Editora, cidade, 2007. p.51.

[3] LUPTON, Ellen; PHILLIPS, Jennifer Cole. Novos Fundamentos do Design. Trad. Cristian Borges. 1ª reimp. São Paulo: Cosac Naify, 2009.

[4] SCOTT, Robert Gilliam. Fundamentos del diseño. . Buenos Aires: Editorial Victor Lerú, 1970.

18 Senses&Sensibility’13 [5] LUPTON, PHILLIPS. 2009. Op. cit., p.217

[6] TRIAS, J.M. “El símbol de Barcelona’92”, dins del Simposi Internacional sobre Jocs Olímpics, Intercanvis Culturals i Comunicació. Bellaterra: Centre d’Estudis Olímpics i de l’Esport, Universitat Autònoma de Barcelona. 1992.

Senses&Sensibility’13 19 The Online Broadcast of Fashion Trends: MPDClick Website

Amanda Queiroz Campos and Richard Perassi Luiz de Sousa Significação da Marca, Informação e Comunicação Organizacional - SIGMO, Universidade Federal de Santa Catarina - UFSC, Florianópolis, Santa Catarina, 88040-900, Brazil

Abstract — The scenario of convergence between telecommunications and informatics connects the world. It sets up the call the network society, promoting communication and other dynamics by setting new relations of space-time. Included in this changing context of communication processes, businesses of trend research can count on media and media channels, which shape a new reality for the collection and distribution of information. This paper proposes to critically build remarks on the way the information of fashion trends are conveyed online. The paper considers specifically the website MudPieDClick to exemplify the changing of supports in the broadcast of trend books, whose print versions are replaced by digital versions, published in online networks.

Index Terms — trends, website, net society, flexibility, fashion information.

I. INTRODUCTION

This paper consisted in a prior investigation regarding the visual syntax in online platforms. The text is a result of studies conducted in a Masters in Design and Graphic Expression within the Graduate Program of Design (PósDesign) of Santa Catarina Federal University (UFSC) regarding graphic and visual information syntax. The proposed topic is also developed in the research line entitled “Strategic management of graphic design” in the context of the research group SIGMO: brand significations and organizational information and communication (UFSC/CNPQ).

The specific object of study is the fashion information broadcasted online bytrend forecasting agency MudPie. The goals of the paper surround the description of the state of fashion trends broadcast through online platforms. Due the legitimacy and allowance to access the website costless, the MPDClick website was selected as sample for the phenomenological investigation.

Communication is a social phenomenon capable of transforming realities. In digital fields,

20 Senses&Sensibility’13 communication amplifies its transformation power, causing impact between users of computer and other digital devices networked. This affects the whole society because, in general, the opinion makers have access to online media supported by digital technology. Thus, the domain of the composition and operation of communicative and informative processes through digital media imply significantly in the definition of relevance parameters and communication goals of specific professionals and organizations, such as those related to fashion.

Each media develops its own culture, whose syntax interferes with the final content of the messages it conveys. Therefore, the selection or determination of the mediation channel is not inconsequential and must be considered in accordance with the interests of the transmitter and the receivers. To Charaudeau [I] “communicate, inform, everything is choice. Not only the selection of contents to transmit, not only the choice of the suitable shapes. “

The statement implies that signs and codes are always present in communicative processes and that every communication system is also driven by linking systems that complement themselves in links in different situations and appropriately to our perception. Since, in addition to the signs, meanings among speaker and listener, “every act of communication has its social cultural dimension.” Still, in communicative processes, one should consider the default values proposed and imposed by the media itself, since, in the words of McLuhan, the medium is the message [2].

The computerized scenario of telecommunications convergence presents a global reach and configures the “network society” by promoting other dynamics of communication and spatiotemporal settings. In the field of fashion, along with other changes, that changed the treatment processes of trend books communication that currently are available on online platforms and broadcasted on the network, in contraposition to traditional print versions.

II. METHODOLOGY

The research is characterized as “descriptive”, because it “notes, records, correlates and describes facts or phenomena of a given reality without manipulating them” [3]. In addition to the literature on the topic, which is indicated as a secondary source, there was also access to primary sources such as documents and records available on the website MudPieDClick.

Senses&Sensibility’13 21 III. RELATION SENDER-RECEPTOR IN THE BROADCASTING PROCESS

Since the beginning of the century, one lives a transition process regarding communication processes, new technologies and media revolution. It is common for this period that certainties and uncertainties arise in relation to the phenomena of communication and (un) communication. New technologies, the speed of information and the communication process bring a more complex scenario and require answers that are also more complex due to the transceiver model.

According to Pereira [4], studies on the rhetoric date from the third century BC and had Aristotle as the first researcher. These studies emphasized the transmission of information as a persuasive process. His studies systematized the transmission of information through its division into three basic elements: speaker, speech and listener. Where the speaker is one who conveys the message, the speech consists in what is said, and the listener is to whom the message is destined.

This classical linear and tricotomic model developed by Aristotle persists in the present, but it becomes incomplete for ignoring noises and cultural specificities that create the repertoire of each speaker and listener, without emphasizing the central role of the subject in the process. In turn, less remote information studies intend to analyze meanings and messages within cultures, their production and the exchange of meanings [5].

The Eco Fabbri et. al. [6] model considers that in the process of communication, the message must be understood as significantly, and can be filled with different meanings since the codes used to compose and interpret messages cope to establish specific relationships between signifiers and meanings. What considers that senders and recipients influence the encoding and decoding processes, inserting new information to messages.

IV. FLEXIBILITY AS CHARACTERISTIC OF INFORMATION SOCIETY

Borges [7] highlighted the importance of the conception and development of media for the prospection of new action and interpersonal interaction modes. The author reiterates how the resulting progress of research and digital and technological innovation has revolutionized human communication. In addition, the mass media are presented as monologue communication systems, characterized by the spread of symbolic forms, which are designed and produced to achieve a significant and undefined number of receptors.

22 Senses&Sensibility’13 On the other hand, considering the interactive hypermedia, Barreto [8] attests that interaction makes possible the active participation of people in the fluid stream of information. Thus, the user interacts with this data stream in a direct, conversational and flexible way.

Flexibility is established based on the new paradigm of information, favoring the idea of ​​“learning” - since the whole system is malleable, of easy reconfiguration and available to assimilate and incorporate changes [9]. Therefore flexibility is the decisive aspect of the information society, indicating the prospect of uninterrupted intellectual and technical training.

The influence of this flexible feature of the information society is perceived in different areas and environments, reaching and changing both market dynamics as well as institutions of higher education (IHE). Data collection and information is a strategy of organizations, seeking to produce knowledge about the society and the market, applying it in the process of constant innovation.

Increasingly, the collection and dissemination of data and information occurs through the online network. There is a profusion of diverse data, imposing the need for constant cross mappings, given the different environments or sectors of the global culture. In the caseof business organizations, such as fashion companies, the gathering of information serves to recognize the evolution of the characteristics of the market and the audience’s focus, leading to construction of current scenarios and future trends prospection.

V. THE INTERNET AS A FASHION VEHICLE

Due to its characteristics as a system that allows network browsing, the internet can be perceived as mass media and search tool. The mass character is established since millions of people surf through the internet. However, the interactive navigation process, the search systems and the use of key words or expressions allow prior selection of individualized themes and areas of interest. Thus, despite being connected to a mass media, the user can stay long periods of studying a single subject and attending a single set of specialized sites.

The traditional electronic media only approached such effects when it offered stations or channels on specific topics. However, while the popularization and consolidation of digital interactive radio and television does not grow significantly, the number of specialized stations of radio and television will also be minute when comparing with the amount offered by internet.

There is the remarkable growth of the waterway network in the internet, expanding

Senses&Sensibility’13 23 the thematic diversity, and also the amount of sites that deal with the same subject matter. However, this implies the need for adaptation or best solutions and technologies for browsing and qualified finding through the net. The growth of the network also shows the wanton proliferation of sites with fashion information.

There are studies that focus on the development of communication strategies and marketing, targeting the areas of Design and Fashion from information published on blogs. The starting point is determined by the set of collaborative and collective construction processes that provide information related to personal and lifestyles habits of ordinary people. The brands use blogs as a source of data collection, to optimize the processes of positioning and brand communication before his public focus.

The internet is also an object of study in researches that evaluate processes such as how fashion information is found and interpreted within the network. In this case, the starting point is the user’s perspective and his/hers interaction with the digital graphical interface (Fig. 1) considering the characteristics of graphic design and information design, since the information design supports the expressiveness and meaning of the graphic message.

Fig 1: Homepage MudPie

VI. THE MPDCLICK WEBSITE

The graphical interface of the site Mudpie D Click is supported by an online digital platform, appearing firstly as homepage (Fig. 1) that, in addition to the information the disclosed, offers various links that direct the user to other pages of the same site or to other related sites.

24 Senses&Sensibility’13 The source of the site is the British company Mud Pie Fashion Forecasting, which was founded by Fiona Jenvey, businesswoman who remains as CEO of the organization for 19 years. The main activity of the company is researching fashion trends, considering its experience in young adult and infant fashion markets. Mud Pie D Click or MPDClick is named the online service of trends research and commercial fashion direction. The service intends to offer creative inspiration and consumer intelligence arising from consumers and necessary for the designers, designers, fashion buyers and executive’s worldwide success.

The data collected on the Internet show that access to information and services of MPDClick is only allowed by subscription. The value of the annual subscription is U.S. $ 3,375.00 (three thousand three hundred seventy-five U.S. dollars) per user, with the option for up to five users, click denominated corporate, costs U.S. $ 6,000.00 (six thousand dollars per year). These values ​​indicate the high cost that the market is willing to pay for that sort of information and knowledge.

The subscription entitles access to reports and in depth textual and photographic reports about the global fashion trends, color trends, innovations and creative industry news, products and trend fairs, fashion retail directions, information and analysis of the major fashion shows and fashion events, cultural influences on trends and fashion, plus access to a bookstore of graphics, prints and apparel product forms to be downloaded (Fig.2).

Fig 2: Avaliable content links for navigation

VII. FASHION INFORMATION IN A HYPERMIDIATIC CONTEXT

In the information society, the linear structure of communication for information obtaining is replaced by an associative structure. That occurs in condition of a multimedia hypertext. The hypermedia text enables the communication of information in several languages: scriptures,

Senses&Sensibility’13 25 images and sounds, which are composed in a combined mode.

Despite the profusion of available content, the online site MudPieDClick is presented very neatly and organized – using boxes and blocks with grouped information. Under light background, with visible and simplified typography, the layout of the graphic digital user interface is considered clean. The use of only monochromatic scales of gray tones and white enables that colorful imagetic features, such as vectors and color photographs of high contrast and resolution excel as a informative focus, without interferences or visual noises from the background.

The navigation proposes interactivity in the communication and learning of fashion trends process, enabling the collection of inspirational material. The platform provides by trend reports directions for sites with similar or complementary information, as well as presenting electronic journals with relevant data for the enhancement of the presented content. The visual organization leads to an agile navigation, facilitating rapid access to the desired content. The various pages are linked and the ordering is only conceptual, allowing shortcuts directed by the user to pages of self interest.

Hypermedia is replacing the strong tradition of printed trend books with more agility and playful-interactive components. However, the digital support is still occupied by materials that do not allow user intervention or interaction, becoming a mere transposition into the digital media. That is noticeable in trend boards and trend reports that many products are presented as mere static images in opposition to hypermedia artifacts and possibilities that could optimize them.

In the items of the MPDClick website products (Fig. 3) lacked the flexibility or plasticity that characterizes the information society, because the various media modes when properly solved should work together to produce meaning, motivation and allow the creation of new possibilities. As stated previously, it is the flexibility of the media and its interaction with the user that enable the constant re-creation of the messages, the media and the user. Since the user needs to know the trends and develop a personal creativity, transforming projects in response to market novelty in order to continue feeding the ephemeral consumer society dynamics.

It is also interesting to propose a reflection regarding to the trend site user, since online digital information and knowledge environments contribute to develop “a new user, sailor of computer networks that reinstates the power of writing linked to the image, strengthening the

26 Senses&Sensibility’13 possibilities of a new type of interaction “[10]. Thus, the user already adapted to interactive systems is facing an interface paltry favorable to interaction.

VIII. CONCLUSION

The challenge in the fashion world is the best use of hypermedia for the broadcasting of specific contents. In the studied example one observed the organization of trends with a focus on the fashion business. The hypermedia context implies that multimedia channels should be used interactively, cooperatively and complementary since the various information sources influence directly the content and influence also social and cultural user behavior.

In general, there is an existing and complementary shared process of information and knowledge of fashion trends dissemination broadcasted in traditional media, such as printed fashion trend books, and of hypermedia trend books supported by online digital platforms. However, there is still a path to be cover regarding the efficient transition process of fashion information from print mode to hypermedia - since this last one has not been explored and developed in all its potential, especially with reference to the flexibility of the accessible products in order to enable and to benefit from the positive aspects of plenary interactivity.

ACKNOWLEDGEMENT

There should be a thank you to the sales team of Brazilian MPDClick that released for free the website access for academic research purposes.

REFERENCES

[1] CHARAUDEAU, Patrick. Discurso das mídias, São Paulo: Editora Contexto, 2006. p.83

[2] McLUHAN , H. FIORE, Q. The Medium is the Message: An Inventory of Effects. New York: Bantam Books, 1967.

[3]VERGARA, Sylvia C. Projetos e relatórios de pesquisa em administração. São Paulo: Atlas, 2006.

[4] PEREIRA, José Haroldo. Curso Básico de Teoria da Comunicação. Rio de Janeiro, Quartet : UniverCidade, 2001.

[5] MELO, José Marques de. Teoria da comunicação: paradigmas latino-americanos. Petrópolis, RJ: Vozes, 1998.

Senses&Sensibility’13 27 [6] ECO, Umberto. FABBRI, P. et al.Prima proposta per un progetto di ricerca interdisciplinare sul rapporto televisione/pubblico. Perugia: Istituto di Antropologia, 1665.

[7] BORGES, Admir Roberto. A propaganda na vazante da “infomaré”. Congresso Brasileiro de Ciências da Comunicação. XXVIII INTERCOM, 05 a 09 de setembro de 2005. Rio de Janeiro.

[8] BARRETO, Aldo. Mudança estrutural no fluxo do conhecimento: a comunicação eletrônica. Ciência da Informação. Brasília, v.27, n.2, 1998.

[9] WERTHEIN, Jorge. A sociedade da informação e seus desafios. Ciência da Informação. Brasília, v.29, n.2, mai-ago. 2000.

[10] CARVALHO, Kátia. O admirável mundo da informação e conhecimento: livro impresso em papel e livro eletrônico. Biblios. Año 7, No.24, abr –jun. 2006.

28 Senses&Sensibility’13 The Reshape of Meaning: Design Innovation Grounded in Culture

Amanda Queiroz Campos, Sarah Schmiegelow and Luiz Salomão Ribas Gomez Laboratório de Orientação da Gênese Organizacional - LOGO, Universidade Federal de Santa Catarina - UFSC, Florianópolis, Santa Catarina, 88040-900, Brazil

Abstract — This paper is part of ongoing PhD study on a methodology for trend analysis focusing on innovative design. It endeavors to expose an alternative theoretical composition of a background for trend research and analysis. Parting from documental bibliographic research on social sciences and overall qualitative investigations, a theoretical foundation based on Grounded Theory was build to the further development of a prospective trend research methodology – which will result from the research’s continuality.

Index Terms — meaning, trends, innovation, culture, Grounded Theory.

I. INTRODUCTION

This paper endeavors to expose an alternative theoretical composition of a background for trend research and analysis. As we unveil the rich possibilities of the incorporation of recent theories to Symbolic Interactionism is our future goal to recreate a methodology [1] for trend researching and innovation applying to be developed and applied in the Trend Seminars of Federal University of Santa Catarina (UFSC/Brazil) conducted by the authors and also by MOODlab: Laboratory of Market Observation and Oriented Design (LOGO/UFSC). The trend observatory proposes to investigate social and cultural fields for reporting results aiming to contribute to the process of innovation.

Parting from documental bibliographic research on social sciences, neuroscience, anthropology and overall qualitative investigations a theoretical foundation was build to the further development of a prospective trend research methodology – which will result from the PhD continuality. The still to be model aims to allow the proposition of valid and plausible projections based on cultural change observed and examined through a meme interaction scientific method, suggesting the validation of delimitated and concluded hypothesis.

The theoretical choice will allow the monitoring of data derived from diverse knowledge

Senses&Sensibility’13 29 fields, such as: politics, economy, culture, technology, business, etc. The meticulous analysis of those influences plays the role of orienting compass for transversal and holistic symbolic interaction analysis that enable sensible recommendation to the various niches of commerce, grounded on cultural trends.

II. CULTURE AND MEANING

According to Culture Semiotics, culture is a set of symbols and myths of a certain group. These symbols and myths, however, do not have self expression. They express themselves trough the material culture. Thus, all culture depends on an expressive set so their symbols and myths can be articulated and communicated.

Lotman [2] establishes the concept of culture as information. To the Russian semioticist, even when we consider the inanimate objects inserted in a culture or the “material culture monuments”, it is necessary to understand that these objects perform a double function. Besides a possible practical finality, they concentrate and express a number of data. Constitute themselves as means of conservation and preservation of cultural information. Therefore culture must be characterized as a complex structure. Through investigations on a single object it is possible to obtain information about the complete structure of technological production and how it relates with the social organization. For that reason, the potential symbolic function of the material culture products justifies its interest condition of objects within the Culture Semiotics area.

Observing, thus, the material culture objects through their double function of instrument and symbol it is also needed to consider that they participate in two realities. The first reality is composed by the tangible or material world. It is the reality perceived through the sensations, provided by what is considered the natural or material. Consequently the first reality is considered whatever persists in the material world regardless the human mind wills and conscience eventualities [3].

Originally, fruits are natural tree products. But they also serve as food to people. Thus, can be used as basic material for producing candies or can be harvested to be given as a gift to someone. Therefore, cultural practices extend the uses and the products of the first reality. The activity of transforming fruits in candies characterize a human action, registered by the candy presence, even after the action is done. Likewise, fruits separated from their natural context

30 Senses&Sensibility’13 are also perceived as products of the tree “action”. Therefore, candies symbolize the human activity and fruits symbolize certain fruit trees activities. When observed outside the production process, candies or fruits continue to provoke the observer imagination about the production process, either natural or cultural.

The second reality is imaginative, symbolic e typically cultural, because their products are intangible or abstract. To Baitello [4] culture is the specific ground where the most pure and unrestrictive human creativity is manifested. In the cultural dynamics the material and immaterial products are invented and developed. The immaterial products are typically cultural, because the physical products from material culture depend their existence on previous imagination, design or immaterial production.

The cultural imaginative environment is the field of individual and collective discoveries of each temporality. However, these collective discoveries require the aid from at least one language rudiment, since the imagined depends on the languages’ expressive signals in order to be express or manifest. In the same way a candy can be perceived as a register of a past activity, a obtained knowledge of an idea or previous wish, the culture material products are elements of the first reality, acting as symbols of wishes, of imaginative or projective exercises, of cultural values, of knowledge and of physical-operative actions, in other word, of everything that promoted and was involved in their realization.

III. INNOVATION

According with the words etymology, innovation stems from the latim innovare, meaning make new, or change something, introducing noveltys, renew [5]. The approaches on innovation are based, especially, in the concrete aspect of its results, like a new product or service, as well as the mean used to produce it. The Oslo Manual [6] presents the innovation concept as follows:

An innovation is the implementation of a product (good or service) new or significantly improved, or a new process, a new marketing method, or a new organizational method in the business practices, at the work place organization or external relations.

To define innovation, especially when the technology is not the main focus of activity where you want to apply it, can be tricky. But when it comes to the subject of information and knowledge can follow the most basic concepts of innovation to justify it as such. To get a better idea of the aspect that seeks innovation with this project, it is worth mentioning the

Senses&Sensibility’13 31 concept presented by Thomas Koulopoulos (2011). Firstly, the invention is not innovation. It is not intended to create the next trinket a wonder drug or a weapon of mass destruction. The innovation does not aim to accelerate the speed with which we create objects, but streamline how we create value (Ibid).

In this sense, it can be inferred that the innovation process is based more on attracting the “right information” and its “proper use” than just massive investment in technology such as machinery and equipment. Innovation does not necessarily have the best computer or the best machine, but having the proper tools to find the information that generates added value to the product that is offered, especially taking into account consumer expectations.

The innovation concept is often associated with the idea of something new, although, when studding authors on the subject matter, the signification develops wideness. Kolopoulos [7] states that innovation is the result of a sustained process on uncountable repetitions that aim to refine the product and adequate it according to market needs. To Porto [8], innovation is associated to a range of knowledge arranged on a certain configuration and not only on a technology or market. So, innovation is a new way to explore knowledge and tools that already exist.

From this conceptualization, is noticeable that the innovation process refers to using various initiatives that will bring as results important changes, creating new experiences. Innovation is generated when it leads to a significant change in behavior. Generally, innovation seeks to transform the surrounding context by creating possibilities never imagined before [7].

Innovation is a rising matter and essential in the new scenarios presented by the business world. Gallo [9] explains that innovation does not fit in a unique package, created, projected and assembled by only one individual. New ideas are rarely marketed without a inspired team of creative and passionate enthusiast, who transformed the ideas in reality.

IV. TRENDS

According to Caldas [10] the concept of trend has generalized in contemporary society, it has been constructed based on the ideas of movement, change, futureʼs representation, evolution and quantitative criteria. Back [11] states that research trends tend to notice influence forces inside a context and read its evolution to comprehend future consequences. From the Latin tendentia means to have a tendency, an inclination or predisposition to do something, or to a

32 Senses&Sensibility’13 particular characteristic or a particular kind of thought or action.

Trends are simply possible and plausible directions to a specific time. In that way trends function as a mirror of the future, mirror in which actual signals reflect projections pointing to a time that is about to come. To the authors, trend is a manifestation of something that is innovatively instigating or serving consumerʼs needs, wishes and values.

V. GROUNDED THEORY

According to Bandeira-de-Mello and Cunha [12], Grounded Theory can be characterized as a research method, as a methodology in itself - as proposed by Strauss and Corbin - and also as a style, approach or research strategy [13]. The approach seems a fascinating option to qualitative based researches that aim to considerate society through individual and groupal experiences that present common expectation as foundation.

Glaser e Strauss, sociologists and academics of University of Columbia and of Chicago, respectively, defended that all theories contemporary to them were extremely abstract and to little developed to testing. Therefore, they suggested a method of qualitative research in which the identification of elements of sociological theory was facilitated, since they are essential to explain social interaction. The intellectual traditions of both sociologists were conjugated to origin a synthesis that could be defined as “a general methodology to develop theories grounded in systematic collected and analyzed” [14].

This research comprehend society as an entity compound by people and interaction groups, having as basis senses or meanings sheared trough comprehension and common expectations. With this methodological perspective, the researcher investigates experiences and procedures from social scenarios, trough a number of suppositions that, connected with each other, are viable to explain the phenomenon.

Analyzing this classification, Grounded Theory is located as a variant inside the Symbolic Interactionism, which also includes ethnography. Grounded theory roots, according to Interactionism research, directed to the knowledge of perception or meaning that a certain situation or object has for the other. Interpretative research gathers studies using Phenomenology and Symbolic Interactionism. The relation between the approaches relies on the fact that both relate to the experiential aspects of human behavior, scilicet the way people define events and reality and act according their believes [15].

Senses&Sensibility’13 33 This research type focuses on understanding the group actions and interactions between many individuals that belong to a group or society, instead of inquiring about individual actions. Grounded Theory possesses a reserved finality. It is a substantive theory in opposition to a formal theory, in a positivist sense. A theory that aims to explain a experience transformed into reality by individuals and not a absolute true devoid of values and significations.

VI. CONTRIBUTIONS TO THE TREND ANALYSIS METHOD

From literature documentary searches in human science and tests on qualitative research methods, a a conceptual model for the exploration of trends based on Grounded Theory was developed. The theoretical references presented in this paper evidence the importance of areas as anthropology, sociology, marketing, and others, as primordial support to the trends research suggested. Besides, the methodology is based in monitoring information from many knowledge fields, as: politics, economy, culture, society, technology, business, etc. The meticulous analysis from many influences works as orientation to behavioral, economical, social, cultural and transversal studies, enabling sensible recommendations to several niches and commercial sectors, grounded by fashion trends.

The observation, analysis and symptoms interpretation guides the big sectors about the desires and longings of the consumer population. In a epoch when information acceleration and availability enables the access to general knowledge, difficulty appears to be not only on evaluating the sources, but also in organizing and synthesizing them. Although, the analysis must be made with properly detachment, seeking phenomena comprehension as they are presented, avoiding failures. Caldas [10] confirms that a method absence can cause a number of lightly and dangerous approaches, since is not used an adequate set of tools to research fashion trends. Therefore, is absolutely necessary using a structured method aiming organization, validity and impartiality of the collected information.

The conceptual model proposed focus research by studying influences of macro trends, behavior and reference sectors (industry). Trough it, investigation consists in four main steps: a) research preparation, b) data collection, c) data analysis or codification and d) theory delimitation.

The methodology does not specifies time matters, results communication means, data collection sources, or tools that can be used. The model aims flexibility instead of accuracy,

34 Senses&Sensibility’13 indicating a adaptable trajectory, malleable to different applications – extending to anyone avid for exercising novelty, the convenience of beginning a innovation procedure grounded in prospective research.

Independent on how risky planning the future may be, without long-term vision companies can be shock facing the inspected [16]. The trends research studied in this paper refers as a method that avoid futile senses, prospecting deeply in the symptoms emitted by society inside different cultures. The proposal of this conceptual method research aims clarify the complexity of the decoding process, allowing the identification of trends in society and visualizing its possible future impacts in specific industries.

The developed methodology focus the comprehension of transversal contexts and seeks the understanding of the many influences (behavior, macro trends and reference sectors) so uncertainties about the future can be minimized. After, the theoretical considerations are presented about phase 3 (documental research procedures) and about the three main phases (data collect, data analysis and trends delimitation) from the conceptual model of trends prospection developed.

VII. CONCLUSION

One should understand culture as a system that, as every system, presents non-linear patterns, attractions that connect certain symbolic chips or instable points. Which means that when considering a systemically context a small dynamic initiated by a mere meme may reach great consequences. Culture is, therefore, a complex collection of elements – or memes - where many independent agents interact with another through a series of possible exchanges. To concentrate in the complex meme interaction is the major labor of a trend researcher.

By investing in approaches that conceive the research of cultural trends through more flexible conducts it is possible a more intense and prolix collection of changes’ dynamics that renovate themselves continuously in a reflexive manner. The cultural data collection, correlation and interpretation as symbolic chips grounded in social interaction ought to be the understructure of trend research methods and innovation prospective studies, when conducted by a critical and explorative analysis of events, behavior and their meaning shaped and reshaped by society.

Senses&Sensibility’13 35 REFERENCES

[1] CAMPOS, Amanda. RECH, Sandra. The Future of the Present: Why and how to Research Trends. MULTI: Journal of Diversity and Plurality in Design. Vol 3, No 1 (2010, pp. 35-47. Avaliable at http://www.multi-journal.org/ojs/index.php/Multi/article/view/37

[2] LOTMAN, Yuri. Estética e Semiótica do Cinema, Estampa: Lisboa, 2000, p.32

[3] PERASSI, Richard Luiz de Sousa. A leitura de imagens. In: Ana Luiza Ruschel Nunes. (Org.). Artes Visuais, leitura de imagem e escola. Santa Maria: Editora UFSM, 2012, v. 1, p. 12-21.

[4] BAITELLO JÚNIOR, Norval. O animal que parou os relógios: ensaios sobre comunicaão, cultura e mídia. 2ª ed. São Paulo: Annablume, 1999.

[5] PAROLIN, S. R. H. A perspectiva dos líderes diante da gestão da criatividade em empresas da região metropolitana de Curitiba-PR. 2001. Dissertação (Mestrado em Administração) - UFRS, Porto Alegre.

[6] OECD. Oslo Manual: guidelines for collecting and interpreting innovation data, 3rd ed., 2005. p.46

[7] KOULOPOULOS, Thomas. Inovação com resultado: o olhar além do óbvio. São Paulo: Editora Gente/Editora Senac. 2011.

[8] PORTO, Renata; BROD JUNIOR, Marcos. Processos de Inovação no Design de Produtos. In: Cogresso Brasileiro de Pesquisa e Desenvolvimento em Design, 2010, São Paulo. Anais 9º Congresso Brasileiro de Pesquisa e Desenvolvimento em Design.São Paulo: Anhembi Morumbi, 2010. v. 9, p. 3697 – 3705.

[9] GALLO, Carmine. A Arte de Steve Jobs: Princípios Revolucionários sobre Inovação para o Sucesso em Qualquer Atividade. São Paulo: Lua de Papel, 2010. .

[10] CALDAS, Dario. Observatório de Sinais. Rio de Janeiro: Editora Senac: São Paulo, 2004.

[11] BACK, Suzana. Pesquisa de Tendências - um modelo de referência para pesquisa prospectiva. (Dissertação de Mestrado). Programa de Pós-Graduação em Engenharia de Produção, Universidade Federal de Santa Catarina - UFSC. Florianópolis, SC: 2008.

[12] BANDEIRA-DE-MELLO, Rodrigo; CUNHA. Grounded Theory. In: GODOI, Christiane; BANDEIRA- DE-MELLO, Rodrigo; SILVA, Anielson. Pesquisa Qualitativa em Estudos Organizacionais: Paradigmas, Estratégias e Métodos, 2006. pp. 241 - 266

36 Senses&Sensibility’13 [13] WELLER, Wivian. Grupos de discussão na pesquisa com adolescentes e jovens: aportes teórico-metodológicos e análise de uma experiência com o método. Educação e Pesquisa, vol.32 no.2 . 2006.

[14] SONEIRA, Abelardo Jorge. La “Teoria fundamentada em los datos” (Grounded Theory) de Glaser y Strauss. In: GIALDINO, Irene (coord). Estrategias de investigación cualitativa. Buenos Aires: Gedisa Editoral, 2007. pp. 153 – 173. p.153

[15] CASSIANI, Silvia Helena De Bortoli; CALIRI, Maria Helena Larcher; PELÁ, Nilza Teresa Rotter. A teoria fundamentada nos dados como abordagem da pesquisa interpretativa. Rev. latino- am. enfermagem - Ribeirão Preto - v. 4 - n. 3 - p. 75-88 - dezembro 1996.

[16] PUCHASKI, Kleber R. Feel the future: perceptions of branding and design towards product development in the motor industry. Tese de doutorado - Royal College of Art. Londres, 2008.

Senses&Sensibility’13 37 Flagship or Concept Store: the DNA of Space Determined by the Sales Point Atmosphere

André Luis Carrilho, Amanda Queiróz Campos and Luiz Salomão Ribas Gomez. Laboratório de Orientação da Gênese Organizacional - LOGO, Universidade Federal de Santa Catarina - UFSC, Florianópolis, Santa Catarina, 88040-900, Brazil.

Abstract — This paper presents a literature review on the definitions of flagship or concept store and the relations with the DNA of space, which determines the Sales point atmosphere and guides the interior design project with a co creative process through the verification of the need for a theoretical basis to future researches to determine the consumer experience at the sales point. The methodology used was the bibliographic review - through research in books and papers of national (Brazilian) and international journals, through meta searches with keywords such as flagship, visual merchandising, DNA of space, interior design and atmosphere of sales point.

Index Terms — Flagship. Sale point. DNA of Space. Architecture.

I. INTRODUCTION

Brands and its selling environments have become important social spaces and have the power to influence and control over people’s behavior in the nowadays world. Large corporations are responsible for organizing the values of the contemporary consumer society. To this research fit as an objective the aim to organize a literature review with respect to matters such the sales point as an environment that delivers more than simply the product of a brand, but that brings to consumers an experience that goes beyond the purchase - concept stores or, as they are known around the world, flagships.

The present paper puts the DNA of space as a gathering of concepts that define the project decisions of commercial ambiences, environments. Therefore, all the projectual position would take into account the DNA in order to create the atmosphere of the sales point. In that sense, we partly present the results raised until the current date on each topic, defining the understanding of the authors on those specific terms.

Initially, we present the definitions of stores, concept stores and flagship – as today are

38 Senses&Sensibility’13 named the stores that serve as main stores of brands. Those spaces are responsible for bringing up to the target audience all the experience that the corporation intends to deliver to their customers. So, the users have the sensory stimuli environment that adds value making the purchase not only a rationally act but turning the moment into something emotional.

Subsequently, we address the DNA of space, which is put by authors as the set of concepts organized through a metaphor in association with the genetic DNA, responsible for combining and recombining, defining project actions and developing what is finally comprehended as the atmosphere of the point of sale.

II. THE STORES

The population of the late twentieth century, known as the consumer society, values the differences and promotes new individualism, these aspects have changed the business establishments that are no longer mere warehousing of goods and began to add value to selling through the services provided, environment created, experiences provided to customers. A reasoning to differentiate the brand in the market regarding the subject of strategies to attract this new type of consumers determined by consumer culture (ORTIGOZA, 2010).

According to Carrilho; Pinto e Gomez (2012) a new modality of stores arises to deliver to consumer more than simply products. They are the points of sale known as flagship or concept store, that promise a real and sensorial experience to visitors by stimulating the five human senses.

This type of stores is the evolution of the commerce and sales. They transform the space that formerly had concernment only with profit in a highly seductive environment, in which the visit delivers the pleasure beyond products. Thus, the experience of the ambiance that sells seeks, now, to create spaces that reinforce the relationship between commerce and leisure (ORTIGOZA, 2010). A sales point can be characterized as an element of a communication project (MARTAU, LUZ, 2011). And the store is a important differential to add value to the brand and to loyal the relationship with the consumer (CARRILHO; PINTO e GOMEZ, 2012).

In this context, the store ambiance – environment – must be understood not only as a space delimited by the elements floor, ceiling and walls, but, mostly, as a space proficient in transmitting sensations, emotions, wishes and yearnings. “We are endowed with five senses

Senses&Sensibility’13 39 and have sensory nerves that indicate the position and movement of the body in relation to space (kinesthetic) “ (PAPANEK, 2007, p.84).

III. THE DNA OF SPACE

According to Gomez; Olhats and Floriano (2010) the DNA - deoxyribonucleic acid – is the most important part of each cell. It contains vital information that pass from generation to generation, so it is in the “DNA” that one finds the information for the configuration of human beings, determining all his/her features. (CARRILHO, 2012)

It is as the DNA, as a metaphor, in a general sense, would be considered as an arrangement of determinant characteristics’ information of living beings. Carrilho (Ibidem) also attests that the metaphor uses

[...] concepts that are compared to the four basic elements of the DNA living organisms - therefore adenine (A), thymine (T), cytosine (C) and guanine (G) - with four other elements named Emotional (E), market or commercial (C) Technical or technology (T), and perpetuation or Resilience (R), having a fifth integrator element is compared to the protein that isthe integrator elements in the DNA formation of living organisms.

Given Neilson (2008) confirmations, we are drowned to think that if genes combine basic elements to build a “DNA” with specific characteristics, in this the metaphor also the concepts are metaphorical elements, therefore, a diagnosis of “DNA” can also be applied to objects and all things possible to be identified and that have the possibility to transmit any sort of information.

In the case here we propose a DNA of space, which determines the features intended to be delivered to consumers in retail environments. Thus when dealing with a set of concepts that would be responsible - mentioning Lopez and Gomez (2012) - for the elements that “should always work in conjunction combining and recombining, interfering in the actions of one another, co-existing” and so that the relationship between the concepts define the actions of interior design stores. The internal dynamics of spaces and their production interfere directly in the conduct of consumer relations nowadays, and observing the major changes in those spaces we were also observe their interference in social life as a whole (ORTIGOZA, 2010).

The understanding of space considers that the space would be the interspace left from the architectonic shape, and provides the sense of the geometric boundaries as the boundaries of the perception’s field. Thus the architectural space, from which we intend to investigate and

40 Senses&Sensibility’13 diagnose the metaphorical DNA, is the space of architectural works as a result of the material shape including the aforementioned space (CARRILHO, 2012). The manipulation of culture and emotion, senses that are impregnated in a spatial dimension, is made possible through the qualification of space, as puts Edward Hall (1977), a hidden cultural dimension.

In the current world, it is the consumerism that presents the highest pressure in the production and reproduction of space. “We live in an era in which all spheres of social and individual life are, in one way or another, reorganized according to the principles of the consumerist order” (Lipovetsky, 2007, p.109). Hence the importance to take into account the spatial dimension in the context of production of trade and consumption environments, and compose the recognition of space as a product and condition of the social relations of production, and therefore, historically constructed (ORTIGOZA, 2010).

The examination for the “DNA” of architectural space diagnosis requires a specific structure that aims to bring together values that are within a society and must be transmitted to their consumers - aware of the potential emotional impact (CARRILHO, 2012). For that, one must follow a methodology with a co-creative philosophy, involving deep democratization and decentralization of the creation value, The creation leaves the antiquate model focused on the company and substitutes it by a model of integration with customers, communities, suppliers, partners and employees, as well as with interactions between individuals (GOUILLART, 2011).

This organization intends to develop awareness with the “atmosphere”, the tone, the mood of the store. About this content (Vargas, 2001, p.312) states that:

The design of the store is important for several reasons. First, its design influences the company’s ability to attract attention and control of the target audience. Secondly, because the built space is expensive and requires long-term commitments that cannot be adjusted each year. Thirdly, and perhaps most importantly at the moment, is the fact that the facilities offered by the store environment represent one of the most significant aspects of competitive rivalry and a means of achieving a differential advantage. The issue of the difference of the place begins to apply equally to the stores. Accordingly, planning a store is a variable that can strongly influence the consumer and the company’s profitability.

IV. ATMOSPHERE OF THE POINT OF SALE

From what has been put, we must still elaborate on the definition of the atmosphere of the

Senses&Sensibility’13 41 point of sale. To Yoo, Park and Maclnnis (1998), the defining characteristics of the atmosphere of a store are the architectural design, lighting, air quality in the place, the interior decoration and the presence of music. Gatto (2002) divides the factors that characterize the atmosphere from the senses (tactile, audible, olfactory, visual, and gustatory) including the social dimension. Since the design of the sales point incorporates a strategically designed atmosphere, it is, logically, fundamental in the construction and positioning of a brand.

Kotler includes that:

We shall use the term atmosphere to describe the conscious planning space in order to create

particular effects on buyers. More specifically, atmosphere is the effort to design buying environments that produce specific emotional effects in purchased products or services, making it possible to increase the chance of acquisition. (KOTLER, 1973-1974, p.50)

Consumers respond to a “total product” and the store itself is able to offer a unique atmosphere. This can set the pattern of consumption. So the atmosphere of the place may have more influence than the product itself in the purchase decision (MARTAU e LUZ, 2011). The point of sale is one of the main responsible for transmitting the experiences that the brand intends to deliver to its consumers, directly assuming the role of communication, being often the final decision maker of purchases. Today, we can say that the stores have their spaces more humanized, turning all their attention not to the product but for the people who will use it. (CARRILHO; PINTO; GOMEZ, 2011).

V. CONCLUSION

It is understood that consumer reactions are not universal. There are different types of consumers and each has a different behavior, even under the same atmosphere (stimulus). Therefore, the knowledge of the consumer profile is critical in defining the interior design project, as it should be appropriate to the target audience of the specific business.

Changes in design strategies require an understanding of what solutions will be more acceptable to the consumer and what are the factors influence them. Understanding the factors that influence consumer perceptions arises as is critical. Future researches should focus on the relationship between consumer perception and the characteristics that define the atmosphere of the point of sale, since literature has given attention more intensely to the factor of enlightenment, which is undeniably important but not the only factor to be taken into

42 Senses&Sensibility’13 account when projecting concept stores.

The great potential of the DNA of space diagnosis is that it offers the possibility to activate the relations that qualify commercial spaces and their users. It also contributes directly to improving the conditions of employees and increases the comfort of all who live in and visit the environment. Some authors state that consumers have become both actors and spectators. Ceasing to be only flâneurs in an uninviting space, requiring that the flagships meet their expectations of consumer experience.

In this sense we understand that the specialization of business environments within the commercial process of production and reproduction is not entirely new, it contains something of the old models. Then the forms of commercial spaces in thei essence are the mediation between time and space. Thus it is believed that there are not spaces that transform life; it is their use that - as life changes - comes giving a new meaning to purchase environments.

REFERENCES

CARRILHO, André Luis. DNA Arquitetônico: Conceitos de design aplicados ao método para a reabilitação dos espaços da arquitetura. Dissertação de Mestrado – Programa de Pós-Graduação em Arquitetura e Urbanismo, UFSC: Florianópolis, 2012.

CARRILHO, A. L. e PINTO, T. C. L. e GOMEZ, L. S. R. Design de loja como experiência de marca: criação de valores para o novo consumidor cosmopolita. . In: II Conferência Internacional de Integração do Design, Engenharia e Gestão para a inovação, Florianópolis, SC, Brasil, 21-23, Outubro, 2012.

GATTO, S. L’atmosfera del punto vendita quale strumento di differenziazione dell’insegna: una verifica empìrica delgli effetti della variabile olfativa.In: Congresso Internazionale “Le Tendenze del Marketing”, 2002, Venezia. Anais. Venezia, 2002 kOTLER, P. Atmospherics as a marketing tool. Journal of retailing, n. 49, p. 48-61, winter 1973- 1974.

ORTIGOZA, Silvia Aparecida Guarnieri, 1961-Paisagens do consumo: São Paulo, Lisboa, Dubai e Seul / Silvia Aparecida Guarnieri Ortigoza. – São Paulo : Cultura Acadêmica, 2010.

SAMPAIO, C.H.; SANZI, G.; SLONGO, L.A.; PERIN, M.G. Fatores visuais de design e sua influência nos valores de compra do consumidor. Revista de Administração de Empresas, São Paulo, v. 49, n. 4, p. 373-386, out/dez. 2009.

Senses&Sensibility’13 43 YOO, C.; PARK, J.; MACLNNIS, D. J. Effects of Store Characteristics and In-Store Emotional Experiences on Store Attitude. Journal of Business Research, v. 42, p. 253-263, 1998.

ZORRILLA, P. Nuevas tendencias en merchandising: generar experiências para conquistar emociones y fidelizar clientes. Distribución y Consumo, sep-oct, p. 13-20, 2002.

ZEITHAML V. A; BITNER M. J. Marketing de serviços: a empresa com foco no cliente. Porto Alegre: Bookman, 2003.

44 Senses&Sensibility’13 From Branding to Point of Sale: the Importance of Promoting Multisensory Experiences

Carine Adames Pacheco, Luiz Salomão Ribas Gomez, Patrícia Biasi Cavalcanti and Vera Helena Moro Bins Ely Universidade Federal de Santa Catarina, Florianópolis, SC, 88040-900, Brazil

Abstract —This article shows how the five human senses can be used by a brand to get closer to its consumers. Being the retail store an interface between users and a brand, we will show, through a critical review of literature, how the atmosphere of a store can stimulate the consumers’ senses, causing new sensory experiences and contributing to the identification between the prospective client and a brand. The study discusses multisensory brands and the sensory aspects that can be explored at retail stores, illustrated by some successful cases.

Index Terms — Branding, consumers, human senses, retail store, sensations.

I. INTRODUCTION

In an ever more competitive context, in which the offer of services and products rapidly multiplies itself, companies strive to conquer the consumer’s preference, making them identify themselves with the brand.

A brand which can stimulate its potential customer in different ways, offering a coherent sensory experience through multiple sensations referent to the brand, makes it more easily remembered by the customer than the competitors. Through senses, the customer perceives, recognizes, and can identify with brands. A strong brand creates an easily recognizable universe with aromas, sounds, textures, tastes and colors.

Concomitantly, the influences caused by the physical installations of the point of sale in the consuming process has been taken into account and studied as fundamental for differentiating the company from its competitors, and for a better insertion in the market. The commercial environment has emerged as a strategic component which allows differentiating and positioning retails brands, besides providing experiences which reinforce the perceptions on the brand and the product. Entrepreneurs have invested more and more in the environment’s qualification and planning, in a way to make them more pleasant and functional, favoring the

Senses&Sensibility’13 45 consumer’s shopping experience.

Since the store is the brand’s contact spot with customers, the concept of its interior project must be based in a deep study about the company’s profile and the image it wants to convey. It is important to ensure the consumers identify with the image conveyed by the place, confirming the values which define the brand.

The objective of this article is to analyze the way in which the atmosphere of the point of sale can stimulate the consumer’s senses, providing new experiences and contributing to the creation of a link between the brand and its customers. For that, this paper is based on the literature’s critical review with the bibliographical researches on Branding and Interior’s Architecture, as well as consulting the Internet and working on the analysis of case studies to corroborate with the data found in the references.

II. THE MULTISENSORY BRAND AND THE POINT OF SALE’S SENSORY ASPECTS

Lindstrom [1], in his book BrandSense, defends a Branding slope in which the construction and deconstruction of a brand should be based on the five human senses. Besides vision, which is the most commonly explored sense to communicate a brand’s personality, the multisensory brand can still explore hearing, touch, taste and smell. According to the author, a successful brand should promote new experiences to its customers through the stimulus of the several human senses.

The five human senses allow us obtaining sensations which can be intentionally used for the benefit of marketing. To Gobé [2] it is also compulsory to stimulate the customer’s five senses when thinking the brand of a company, allowing them to make associations in their minds, and having a positive evaluation of the product. To the author, the sensory brand, if well planned, can differentiate it, contributing for the consumer to prefer it over the “sea” of other available brands.

Once the brand is created, it is necessary to deliver it to the target audience. In most cases, the point of sale is an important communication method between the brand and its customers. That is why the concept of the interior design of stores must be based in comprehending the brand’s profile and the image it wishes to deliver. It is also necessary to be strongly aware on the values related to the product, the profile of the potential buyer, and the activities to be performed in the environment, in order to bring up a positive experience to the future visitors.

46 Senses&Sensibility’13 The correct interpretation of the entrepreneurial image at the moment the project is being developed may or may not contribute for its success [3].

To Mesher [4] understanding the brand is one of the main points for the retail designers. According to the author, this comprehension is the base for the success of the project, where the usually two-dimensional brand should be translated into the shop’s three-dimensional interior space. Architects and designers must seduce, tease and enchant the customer, stimulating him/ her to go in the point of sale, to experiment, and to consume the product, contributing for the nurture of pleasant experiences in the place.

To guarantee the expected respect, the brand must invest in the sales environment, surprising both by its architecture and by the selective product offer, searching for a balance between the two (environment and products) [5]. With that, the point of sale as one of the main interfaces between the customers and the brands can induce to specific consumer experiences, becoming a way of stimulating senses.

The interior design of a store can contribute for strengthening the brand’s image and supporting a successful commercial strategy. For that, before starting the project for a point a sale, the architects should get the maximum amount of information on the product and the brand, in order to facilitate the necessities’ comprehension [6].

Green [7] also stresses the importance of the point of sale’s image, saying the store delivers certain messages to the customers. For him, when the customer sees the store for the first time, he/she automatically and subconsciously registers an impression on the environment which is then linked to the brand.

When we walk into a shop for the first time, the senses are acute: the eyes wander the place, the nose inspires the smell in the air, and the ears are after signs which say exactly where the customer is [8].

With that, the experience of being in an environment comprises several senses and can contribute for causing certain feelings and perceptions, or even for inducing certain behaviors on the consumer. Okamoto [9] says that despite the preponderance of vision in architecture, the way to recognize the reality of an environment is to directly and intensely involve body and soul as a whole, using all the senses. This idea is also defended by Dischinger [10] when she comments on the importance of considering the senses totality of the human perception at the moment of the architectural project. For her, this knowledge constitutes the fundamental base

Senses&Sensibility’13 47 and should guide every professional responsible for creating or altering human spaces.

Kotler [11] was one of the pioneers in the study on the importance of the point of sale for the customer’s experience. After him, Baker [12] defined the term atmosphere of the point of sale as an intentional structure controlled by environmental stimulus, organizing them in three main dimensions which influence the consumer’s perception: project factors, environmental factors, and social factors. The environmental factors include the conditions which affect the five human senses.

Vision is, without a doubt, our prominent sense, and dominates the publicity and the architectural worlds. As the purpose is making customers remind the brand, it is recommended to also explore the other primary senses. Besides vision, the senses of hearing and smell induce the consumer approach [13].

Of all the senses, the smell is the one which causes a bigger impact in human emotions. Attracting the customer and induce him/her to enter the shop is the reason why the commerce is more and more investing in olfactory marketing [7] [13]. The olfactory variable is a useful marketing instrument strategically used for positively influencing the customer’s behavior within the shop [14]. Aromas are the new marketing frontier, occupying special places in our memories [1] [8].

Besides the smell, other senses are fundamental in the buying process. We buy based on experience and touch. The tactile qualities of a product are important characteristics, it is necessary to know what the touch feels like. For example, we enjoy touching towels before buying them. Bedding and clothing also go through the same scrutiny. Health and beauty are also products which are in contact with our bodies and, therefore, instigate touch. Any object which is held, carried or somehow handled should be touched and tested, as for example a hammer, a purse, or an umbrella [8].

Another sense of great importance for the experience proportioned by the brand is hearing. However, Treasure [15] says several companies still have not explored the link between sound and brand: “Many professionals ignore we have five senses, not only vision.” He guarantees the music playing in the store may affect the perception of a given brand. Music can induce customers to certain behaviors: the song played in the point of sale can cause desirable reactions by the company.

Music positively influences not only the perception of the merchandise and service quality,

48 Senses&Sensibility’13 but also price. Studies conclude classical music is associated to exclusivity and high prices, whereas popular music creates expectation in the low price consumer [13]. Bitner [16] cites researches by Milliman (1982, 1986), which confirm the influence of the musical rhythm in the buying process, and Yalch and Spangerberg (1988), who demonstrated the relation of the music familiarity with the time the customers remain in the store – when the song is not familiar, customers believe they spent more time buying.

The secret for bringing up an efficient atmosphere in order to attract customers isthe combination of the different elements, which together should always portray the desired image. The shops should mirror the brand concept [13].

According to Kotler [11], consumers do not only buy a product, they buy a whole package which involves treatment, propaganda, packaging and environment. The buying experience is, under this approach, an embracing experience, in which innumerable variables interfere. The users respond to a “total product”, being the store’s environment an important part in this experience, capable of sensibly influencing the consumption pattern, and in some circumstances being as relevant as the quality of the product itself.

III. BRAND CASES WHICH EXPLORE MULTISENSORY EXPERIENCES IN THE POINT OF SALE

As we have seen before, vision is the most explored sense both in the brand development and in the interior of stores. To instigate the stimulus of the other senses in the point of sale, we will be showing examples of brands which use these resources to attract and keep their customers.

Our olfactory memory is powerful: a certain perfume can elicit memories and cause several feelings. When a customer goes into a store with a given aroma, his/her perception is sharp and he/she is intuitively transferred to a sensory experience that refers to several memories.

In the fashion segment, several stores in Brazil have already explored aromas when composing the point of sale’s atmosphere, as it is the case of Le Lis Blanc, Farm, Zara, Osklen, and Animale. We can also cite the scents in the shoe shop Melissa, and the bedding and bath shop MMartan. The aromas are unmistakable and refer to the brands’ characteristics. When we smell them, memories of the brand and the experience of buying them come to light. The success of the scent is so big that many stores started selling their own aromas. The lingerie brand Any Any, one of the pioneers of the concept in Brazil – just as Le Lis Blanc and MMartan –

Senses&Sensibility’13 49 sell products such as colognes, diffusers and moisturizers, all with the scent of the store.

Touch is also a relevant sense in the shopping world. Proving and touching are each time more important in the consuming process, reason why the point of sale should favor the products’ exposure and access, allowing the consumers to explore their several senses during the experimentation of items. Currently the largest possible part of items are exposed in spots with great visibility, where they can also be touched, smelt and experimented without depending of the seller’s mediation.

Brazilian cosmetic chain Boticário removed the front balcony from its stores so that the consumer could have direct access to the product, without the interference of the sales person, and put experimentation desks in their points of sale to reinforce this approximation [17]. Following the same idea, French retail chain Sephora exposes its items for the consumers’ experimentation, even though the showcases might be damaged. This is also the strategy used by the Apple stores, in which the interior design proposal is to invite the customer to handle all the sophisticated products available [8].

In the luxury market, it is common to notice projects stimulating the senses. Famous brands have invested in restaurants and food and drinks special editions, such as chocolates and wine. It is what Amani does. Besides its clothing line, perfume, accessories and house products, it also sells several kinds of chocolates, completing the brand’s universe and the values perceived by its customers through palate. Cavalli also explores the tasting sense through bars and restaurants around the world, serving meals and drinks, and with those promoting experiences which help the brand’s perception and positioning. Besides its traditional products, the brand has created wines, chocolates and vodka.

Nespresso boutiques, normally divided in exposition and tasting areas, allow coffee lovers exploring its products, awakening their senses for a diverse range of coffee profiles, provide their customers with the brand’s global experience.

Some brands are already aware of the importance of the sound stimulus. It is the case, for example, of Imaginarium, in which there is a pattern of CDs currently distributed among the franchise shops with songs somewhat related to the values of the brand, the products, and the identity of their target audience [18]. In the environments of Uatt stores selected songs are also present in the franchising, associated to commercial insertions of their own products [19].

50 Senses&Sensibility’13 IV. CONCLUSION

We have found both Branding with the development of brands, and Architecture with the point of sale project, more commonly explore vision over the other senses.

Scientific studies confirm that a brand is easier reminded when senses other thanthe visual are stimulated. When thinking and planning a brand, the importance of using the human senses as another tool for the customers to identify with it is verified. In the brand development process, among innumerable other matters, the sensory experiences the brand wishes to provide should be defined: touch, hearing, vision, smell and taste.

The point of sale, on the other hand, is important in the communication process between the brand and the potential customer; therefore it should be coherent with the brand’s values, as well as able to reinforce them. Since consumers are influenced by the point of sale’s stimuli, the interior design of these places is seen as a challenge when the purpose is to embody a strategic vision, being the exploration of the five senses an important resource. Architects and designers can (and should) use several elements when planning these spaces, aiming to ensure visual and physical access to the products, experimenting facility, and the sensory stimuli in the environment. With that, the project acquires some complexity, not always explored, that leverages a stronger association of the image to the brand of the marketed site.

It is also possible to conclude there is a strong relation, even not always conscientious, between branding and the architecture of the points of sale. The project of the commercial environment should be based in the same concepts which define the brand, translating the image the company wishes to deliver. For that, it is relevant that the professionals working in these fields work together to obtain more satisfactory results.

Researches about these themes may contribute with the work of professionals, offering comprehension concerning the significant elements when it comes to perception, preferences, and customers’ satisfaction. With that, it becomes easier to create brands and plan commercial environments which promote pleasant experiences to the customers, favoring their identification, satisfaction, and well-being, as well as their remaining in the place, and consequently their buying, reaching the results expected by the company.

REFERENCES

[1] LINDSTROM, Martin. Brand Sense: A Marca Multissensorial. Porto Alegre: Bookman, 2007.

Senses&Sensibility’13 51 [2] GOBÉ, Marc. A Emoção das Marcas: conectando marcas às pessoas. Rio de Janeiro: Campus, 2002.

[3] GURGEL, Miriam. Projetando espaços – Guia de Arquitetura de Interiores para espaços comerciais. São Paulo: Editora SENAC, 2005.

[4]MESHER, Lynne. Basics Interior Design 01: Retail Design. Lausanne: AVA PublishingSA, 2010.

[5] GOMEZ, Luiz Salomão Ribas. Annotations of the Branding Subject. Florianópolis: UFSC, Post-Graduation Program in Design, 3rd trimester 2012.

[6] MORGAN, Tony. Visual Merchandising: Vitrines e interiores comerciais. Barcelona: Editorial Gustavo Gili, 2011.

[7] GREEN, William. The Retail Store: Design and Construction. Lincoln: iUniverse.com, 2001.

[8] UNDERHILL, Paco. Vamos as Compras! A Ciência do Consumo nos Mercados Globais. Rio de Janeiro: Campus, 2009.

[9] OKAMOTO, Jun. Percepção Ambiental e Comportamento: Visão Holística da Percepção Ambiental na Arquitetura e Comunicação. São Paulo: Editora Mackenzie, 2002.

[10] DISCHINGER, Marta. How we perceive spaces. In: -, Designing for all senses. Acessible spaces for visually impaired citizens. Department of Space and Process. Chalmers University of Technology. Göteborg, Sweden, 2000. Chapter 3.2.

[11] KOTLER, Philip. Atmospherics as a marketing tool. Journal of Retailing. v. 49, p.48-64, 1973-1974.

[12] BAKER, Julie. The role of the environment in marketing services: the consumer perspective. In: JONH A.; CEPEIL et al (Ed.). The services challenge: integrating for competitive advantage. Chicago: American Marketing Association, 1986. p. 79-84

[13] EBSTER, Claus; GARAUS, Marion. Store Design and Visual Merchandising: Creating Store Space That Encourages Buying. New York: Business Expert Press, LLC, 2011.

[14] GATTO, Stefania del. L´atmosfera del punto vendita quale strumento di differenziazione dell´insegna: uma verifica empírica delgli effeti della variabile olfativa.Anais del Congresso Internazionale ´Le Tendenze del Marketing’. Venezia, 2002.

[15] TREASURE, Julian. Sound Business. (?): Management Books 2000 Ltd, 2010.

52 Senses&Sensibility’13 [16] BITNER, Mary Jo. Servicescape: The Impact of Physical Surroundings on Customers and Employees. Journal of Marketing. v. 56. p. 57-71, 1992.

[17] MARINELLI, Luciana. Rede de lojas Boticário investe R$ 1bi. Valor, São Paulo, 25 de abril de 2013. Empresas, p.B1

[18] ANGHINONI, Lucas Gustavo et al. Atmosfera do Ponto de Venda: Definição de Atributos Ambientais Desejáveis a Projetos de Interiores Comerciais. Florianópolis: PET/ARQ/UFSC, 2012.

[19] PACHECO, Carine Adames; MONTEIRO, Érica Correa. Report of the Ergonomic Analysis on Uatt stores from Florianópolis. Final paper of the Ergonomic Work Analysis subject in PPGEP- UFSC: 2nd trimester of 2012.

Senses&Sensibility’13 53 External Environment: Discovering Branding Opportunities

Daniele Vasques Dutra and Luiz Salomão Ribas Gomez Laboratório de Orientação da Gênese Organizacional - LOGO, Universidade Federal de Santa Catarina, Programa de Pós- graduação em Design e Expressão, Florianópolis, Santa Catarina, CEP 88040-900, Brazil.

Abstract - The external environment is very dynamic and unstable. The identification of opportunities and threats – external analysis incomes - becomes essential to plan any action in branding. To be able to take advantage of the opportunities offered by the market, the organization must be prepared for change in order to absorb demands that the market may require. This article seeks to demonstrate that the creation of branding strategies depends on a prior analysis of the company’s external environment. The external review of the organization should be given as an initial step to start projects in branding, ensuring its effectiveness and relevance.

Index Terms —Branding, Consumer Behavior, Design Management, External Analysis, Environment Analysis, Market Strategies.

I. INTRODUCTION

In an environment characterized by dynamism, many organizations often delay the necessary steps to change their policies, invariably plunging into a crisis. For an organization to have any chance of achieving their goals and objectives, it is necessary planning and knowledge. The brand today can be described as the largest generator of value that companies may have. The management of this value is something that should be given high attention on behalf of the institution. Companies need to harness brands as true strategies generator.

Strategy essence is focused on the development of capacities. It is necessary to develop the organizational and operational capacity to know, decide and act strategically. The knowledge, which can only be formed by people, only happen from the moment that the organization create the conditions necessary for this knowledge arises internally. [1]-[5]

Planning, regardless of the area, allows the organization to define its goals and objectives, choosing the way to go to achieve those goals and objectives, helping to prevent and to predict changes that may occur in the environment in which the organization operates. Strategic

54 Senses&Sensibility’13 planning is the analysis of both the internal and the external environment of the organization, determining opportunities and threats that exist in the market. Will be the knowledge of these threats and opportunities the real generator of solid strategies that will guide the branding to achieve results for the company.

An external environment analysis is important for the identification of actions, strategies and new practices for the company achieve its goals. “The opposition of environmental information with knowledge of the capabilities of the company allows managers to formulate realistic strategies for your goals to be achieved.” [6]. Is important not only understand the market, but also identify relevant and useful information to finally apply them in developing branding strategies. Using the right strategy according to the information gathered in the market is the first step towards a successful branding. The opportunities will only be utilized if they are known and identified.

II. BRANDING

Brand management can be used not just to identify, inform, entertain or persuade costumers but especially to differentiate [7]. Branding can be characterized as a hybrid discipline. Hybrid because combine marketing, advertising and design, dealing with management, communication and form [8]. According to Troiano [9], branding is a set of principles and processes that allows managing a company’s brand and its products willing to enhance its ability to generate business, feed the motivational pride and establish stable and sustainable relationships with all its stakeholders. The society today is moving very fast “Consumer behavior is changing so quickly and deeply that requires an entirely new vision of brand management” [10]. The consequences are that, in order to create strong and desirable brands, managers need to understand the real needs and desires of the market.

Thus, the goal of brand management is to provide and enhance the durability with which the company will identify itself with the active medium, positioning itself in the market [11]. Branding ends up having the function of managing the various discourses of a particular brand, from various areas of knowledge, seeking to unify the expressions of brand identity. Marketing plays an important role in branding through its the planning and research of strategic information for the idealization of the product. Thus, design has the function to decode this information and visually express the brand through them. [12]

Senses&Sensibility’13 55 Viewing brands as true strategies shows that they are important factors for differentiation, allowing one to identify the manufacturer and enabling consumers to attribute responsibility to them. In this way, the power to perceive and identify previous experience with brands and the quality and characteristics of products or services offered by them, the consumer simplifies purchasing decisions [13].

Mozota [11] to explain the transforming feature of brand, adds that at the moment in which brand strategy creates value by improving the relationship between the company and its environment, anticipating a clear vision of future markets and competition, creating new markets and predicting trends, it generates an important strategic value, which may have a direct effect on the positioning of the organization. And that only happens if the strategists have knowledge about the market. From this statement by Mozota [11], we see the intrinsic relationship between brand management and the market, which should go together. In this manner, an analysis of the brand’s consumer market is essential before beginning the preparation of branding strategies, as the information gathered in the external analysis, will be responsible for providing the basis of all the Branding work and thus capture the market more easily.

III. EXTERNAL ENVIRONMENT ANALYSIS

Every business exists within a complex range of environmental forces that influence their way to manage and operate in the market. The external environment of an organization is responsible for influencing it from the outside, making plans originated according to internal characteristics have often to be modified to adapt to new external features “Environment is an organization that influences everything in your business and that it can not afford to change it” [14]

Organizations are a small part of its external environment, it influences and is influenced by it. While the lower levels of the organization (operational) are related to its internal aspects, the tasks of the higher levels (strategic) “are related to studies and mapping of opportunities and threats that the external environment imposes on the organization” [15]. The need for companies to adapt to the new world order established in the late 1990s has promoted the generation of a complex external environment to the organization and, therefore, the decision makers. [16]. To thrive organizations must be aligned to the market and what happens in them.

56 Senses&Sensibility’13 Peter Wright et. al. [6] argues that all businesses “are affected by four macro environment forces: the legal-political, the economic, the technological and the social”. According to Ferrell and Hartline [17] opportunities and threats typically occur within a competitive environment, consumer, economic, political / legal, technological and / or socio-cultural. To Luiz Antonio Bernardi [18] the external environment is composed of the global and local environment, subdivided into elements, namely: Economic, Political, Social, Technological and Environmental.

Some authors, such as Andrade and Amboni [16], which treat the external environment of organizations in levels, dividing it in direct action environment and indirect action environmental. The external environment is represented by Indirect variables: technological, legal, political, economic, demographic, ecological, cultural and social. However, the external environment is directly represented by four sectors: customers, competitors, suppliers and regulatory groups.

Finally we have the concept of external environment (Opportunities and Threats) defended by Kotler and Keller [19] that a business unit has to monitor major macro environment forces (economic, demographic, technological, political-legal and socio-cultural) and significant micro environmental agents (customers, competitors, distributors, suppliers) that affect their ability to earn a profit. It should establish a system of marketing intelligence to follow important trends and changes. In the case of management, it needs to identify the opportunities and threats associated with each trend or event.

The macro environment then consists of those features that go beyond the direct influence of the organization. This environment can contain variables that act only indirectly to the organization. Already the microenvironment affect more directly the company studied and will provide data directly related to organizational management. The importance of analyzing the external environment, dividing it as micro and macro environments, is the identification of opportunities and threats. These opportunities and threats will subsidize the creation of strategies needed to assist decision making in branding.

To facilitate the identification of opportunities and threats in the external environment, Ferrell and Hartline [17] state that the key test to differentiate a strong or weak point of an opportunity or threat is to ask: ‘Was there such issue if the company did not exist? ‘. If the answer is yes, the question should be classified as external.

Magalhães and Sampaio [3] place importance on identifying opportunities and threats is

Senses&Sensibility’13 57 to make the forces may be associated with opportunities. This happens because these external elements - threats and opportunities - help the planner to “understand the conditions that may inhibit the ability of delivering value to consumers and the changes that may occur in the pace of growth in the strategic advantages of competition and dependence on lines, channels, territories and customers [3]. Likewise threats should try to be converted into opportunities. This action reinforces the defense line of the organization, as well as protects the proposition of initiatives to reduce the effects of the combination of weaknesses to threats.

Regarding the identification of opportunities and threats and the method of treatment of these features, we have that the opportunities and threats, as well as strengths and weaknesses, should not be considered in absolute terms. Often opportunities can also be seen as a threat and vice versa, depending on the persons or teams involved. [20]

Thus one must undertake the analysis of the macro and micro environment always putting focus on identifying opportunities and threats that environmental characteristics may present. Henry Mintzberg [21]-[22] argues that the external environment is not a kind of pear tree to be harvested from the external evaluation. It is, rather, an important and sometimes unpredictable force to be reckoned with.

The analysis of the external environment is for that unraveled the needs and demands of the market, are proportionate solutions to meet these demands. It is important to remember that the analysis of the external environment must be conducted according to an ideal, “the ideal is to transform the organization into opportunities the satisfaction of needs and social deprivation, improving their own performance, including those created by their own impacts” [23]. Thus the study of the external environment deserves extra attention to the talk of developing strategies to ensure that these environments are well understood and the information can be used as input for the development of effective, efficient, and effective strategies.

IV. CONCLUSION

Very dynamic and unstable, the external environment needs to be analyzed and known. By analyzing the characteristics and peculiarities of the external environment it is possible identify opportunities and threats, information that becomes essential to plan any action in branding. To take full advantage of the information gained from the analysis of the external environment, the company must be prepared to deal with potential market demands to serve

58 Senses&Sensibility’13 them efficiently. As for avoiding the threats, the organization must be prepared to adapt to the changing environment. “Social demands of the market and customer needs requires new methods of business thinking, organizational and cultural changes. The complexity and dynamics of the processes requires extensive knowledge and diverse and expressive amount of resources to keep up with changes and survive” [18]. The purpose is - unveiled the needs of the market - to provide solutions to fulfill demands. The ideal is to transform the satisfaction of needs and deficiencies in social opportunities for their own performance, including those created by their own impacts [23].

The use of the External Analysis of the business environment will be responsible for enabling the collection of information that identifies the strategic issues relating to characteristics, needs and will of the organization. Helping to summarize the main points abstracted from external analysis, strategy formulation will use strengths to leverage opportunities, overcome threats and minimize weaknesses, making the analysis results in a coherent plan of initiatives [24]. Demonstrating the company’s situation in relation to their environment the way needed to develop a strategy becomes clearer which allows the strategist to work more aligned to business needs in brand management. The use of tools of different areas, such as external analysis, brings to the professional strategists a holistic view of the business, highlighting the most suitable proposal (what to do, how to do, when to do it and who should do; what the cost, because should do and how it will be assessed) to be presented to your customer and thus can provide the improvement of weaknesses, highlight and enhance the strengths, as well as to be able to take more advantage of the opportunities that are on the market, especially when dealing with brand management.

Not always that, when working with a company, the designer or branding manager has access to all the important data necessary for conducting strategic planning, where - at least most-, the business features must be present. A previous external analysis as a tool for the development of branding strategies will be responsible for creating a bond closer to the real market, making both - market and strategists (designers working in branding) - develop and analyze the company, showing more easily threats that this market may have, and also opportunities that have not yet been elucidated either explored in this market. The strategies planning it only happen if strategists manage to obtain correct information of the market. This is why it is stated that the use of previous analysis, linking the company and the market

Senses&Sensibility’13 59 with strategies in branding, contribute to a better view of the business, as well as possible the knowledge of new strategies and actions that can be followed by the designer, which reach a keener knowledge of your company and the market in which it operates.

In an area where the focus is on the conquest of markets and manage the brand, searching and knowing deeply about the characteristics of this environment provides subsidies to strategic actions, fostering business differentiation.

REFERENCES

[1] D. Aaker. Administração estratégica de mercado. Porto Alegre: Bookman, 2001

[2] Andrade, Rui B.; Amboni, N. Estratégia de Gestão: processos e funções do adimnistrador. Rio de Janeiro: Elsevier, 2010.

[3] M. F. Magalhães; R. Sampaio. Planejamento de Marketing: conhecer, decidir e agir. São Paulo: Pearson Prentice Hall, 2007.

[4] D. P. R. Oliveira. Planejamento Estratégico: conceitos, metodologias e práticas. 22ed. São Paulo: Atlas, 2005.

[5] M. Porter. Estratégia competitiva: técnicas de análise de indústria e da concorrência. Rio de Janeiro: Campus, 1986.

[6] P. L. Wright; Kroll, M. J.; Parnell, J. Administração Estratégica: Conceitos. São Paulo: Atlas, 2000.

[7] M. Neumeier. O Abismo da Marca: Como construir a ponte entre a estratégia e o design. Tradução Cynthia Azevedo. 2ed. Porto Alegre: Bookman, 2008.

[8] L. S. R. Gomez, A. da C. Mateus. Brand DNA: The Brands creative [R]evolution; 40IADE40 – International Conference. 18 p. Portugal, 2009

[9] Jaime Troiano. As Marcas no Divã. São Paulo: Globo, 2009.

[10] J, Gersema. LEBAR, Ed. A Bolha das Marcas. Rio de Janeiro: Elsevier, 2009.

[11] B. B. Mozota, Gestão do Design: usando o design para construir valor de marca. Porto Alegre: Editora Bookman, 2011.

[12] D. Rodrigues. “Um breve panorama do branding”. 7º Congresso Brasileiro de Pesquisa Desenvolvimento – P&D. Curitiba, 2006

[13] K. L. Keller. Gestão Estratégica de Marcas. Tradução: Arlete Simille Marques. – São Paulo:

60 Senses&Sensibility’13 Pearson Prentice Hall, 2006

[14] A. A. Fischmann. Planejamento Estratégico na prática. São Paulo: Atlas, 1990

[15] J. G. Matos. Análise do Ambiente Corporativo: do caos organizado ao planejamento estratégico das organizações. Rio de Janeiro: E-papers, 2007.

[16] R. O. B. de Andrade; N. Amboni. Estratégia de Gestão: processos e funções do adimnistrador. Rio de Janeiro: Elsevier, 2010.

[17] O. C. Ferell; M. D. Hartline. Estratégia de Marketing. São Paulo: Cengage Learning, 2009.

[18] L. A. Bernardi. Manual de Plano de Negócios: fundamentos, processos e estruturação. 1. ed., 3 reimpressão – São Paulo: Atlas, 2008.

[19] P. Kotler; K. L. Keller. Administração de marketing. 12. ed. São Paulo: Pearson Prentice Hall, 2006.

[20] K. Tarapanoff. Inteligência organizacional e competitiva. Brasília: Editora Universidade de Brasília, 2001.

[21] MINTZBERG, Henry. Ascensão e Queda do Planejamento Estratégico. São Paulo: Bookman, 2000.

[22] MINTZBERG, Henry. Safári de estratégia: um roteiro pela selva do Planejamento Estratégico. Porto Alegre: Bookman, 2000.

[23] DRUCKER, Peter Ferdinand. O melhor de Peter Drucker: obra completa. São Paulo: Nobel, 2002

[24] Bateman, Thomas S. Administração: novo cenário competitivo. 2ed. São Paulo: Atlas, 2010.

Senses&Sensibility’13 61 Digital Children’s Books: An Analysis of the eBook- app, The Numberlys from the Perspective of Game Design

Deglaucy Jorge Teixeira and Berenice S. Gonçalves Hypermedia/Pós-Design/UFSC, Florianópolis, Santa Catarina, [email protected], [email protected], Brazil

Abstract - Throughout the evolution of Information and Communication Technology (ICT), interactive products are now widespread, including eBooks. Due to the various media used in this interactivity, an uncertainty about its identity emerged: game or eBook? Thus, from a descriptive and analytical method, using bibliographical references on digital books, hypermedia narratives and game design to characterize the eBook-app, The Numberlys display the game features proposed by Juul [1]. Thus, it was observed that the presence of game design elements of this narrative is the process of gamification and not characterized as a game.

Index Terms — EBook-app, narrative, game design, and hypermedia.

I. INTRODUCTION

The interactivity in electronic books is growing and adapting to the functionality of scanning devices. However, the techniques used and the amount of interactivity in eBooks may be confused as a game. To what extent can we call this reading media an eBook or a game?

“Not quite a movie, not quite a book and not quite a game” [2]. This was the discussion of the Los Angeles Times news story about the launch of the eBook-app, The Numberlys, in January 2012.

Even with this question, several other eBook-apps were launched and categorized as digital books, not videogame1 applications .

Therefore, this study aims to describe the scenes of the eBook- app, The Numberlys with greater potential for gameplay and analyze it from the characteristics of games.

The scenes were chosen and described in narrative sequence. Each scene examined the

1 Videogame is a computer game that uses a video monitor. Such as a computer, cellular phone, or game console.

62 Senses&Sensibility’13 following game features: Fixed rules; Variable outcome; Valorization of outcome; Player effort; Player attachment to outcome and Negotiable consequences. Juul represents the attributes that classify games in a diagram in which these six characteristics are organized in order to classify the activity as Games, Borderline Cases, and Not Games.

II. EBOOK-APP

The first digital books were documents digitized and made available by Project Gutenberg in 1971, in the USA [3]. The development of this documentation mechanism came from the need to store large quantities of information.

Digital books make it is possible to democratize reading on a broader level and in a most extraordinary way, because its technology has many functions and instant access to so much information [4].

Digital book or electronic book (eBook) are generic terms, in other words, the reading file can be in various formats that enable reading the content as files like ePub, PDF, application (APP), etc. [5].

To read these books, it is necessary to have the software installed on an electronic device, such as a desktop computer, a laptop, a tablet, a Smartphone or a device dedicated to this type of reading.

The book in a digital format application (eBook-app) is already executable software. Just click on the book icon on the screen of the device and the reader accesses a world of interactive possibilities: illustrations that come to life, sound and visual effects that arise with the advancement in the narrative, scenarios that can be reconfigured by the reader and endings that are chosen by the reader.

This design, technology and hypermedia enable new forms of approaches to the eBook. The pages are now hybrid territories that build the digital book with typography, image, sound and movement. [6].

Even in a linear structure, the reader, based on his/her repertoire and facts experienced, establishes links with other mental nonlinear texts, thus building its own plot of the story. The reader’s decisions of which way the story will go and the construction of hypermedia structure are part of the text of a digital book.

Senses&Sensibility’13 63 III. NARRATIVE HYPERMEDIA

A The breakdown of linearity in the text of a book expanded with the concept of hypermedia, an expression of the nonlinear form of language that acts as multimedia in eBooks. For example, the integration of media such as images, sounds, text, animation that guides the narrative according to the interaction of the reader. This idea already arose in 1933 [7], Paul Otlet, a Belgian author suggested a book with film, microfilm, texts, images and sounds that would be televised. Not until 1960, did Ted Nelson, American sociologist, introduce the concept of hypertext as “reading / writing non-sequential and non-linear.”

Hypertext [8] is a set of interconnected nodes that can be words, pages, pictures, graphics, sounds, complex documents or other hypertext. Therefore, there is a close relationship between hypermedia and hypertext.

Hypermedia [9] is the combination of hypertext with multimedia and multilanguage, where information options should be displayed; the sequence and time of the reading are choices of the reader. These decisions made by the reader make hypermedia an interactive language.

In one of his visionary statements, the philosopher Jacques Derrida suggested the inclusion of visual elements, as an escape from linearity against reductionism writing, would be new pictorial writing [10]. Hence, its conception of death of the book as a new mutation in story writing, or in other words.

The book is not a book thing, but discursive modality and methodology that are largely limited by linearity. However, this linearity is not the main limitation of the book world, but in its technological impotence in the act of revealing to the reader the surrounding text, exactly what is the manifestation of the world, constantly spread in the vicinity of linear reflections. This surely must be seen as the focal point of digital media [7].

In this regard, narrative hypermedia is the realization of the claim by Derrida, which is namely the breakdown of linearity with non-textual elements as a new form of the narrative. This is something that has been changing over time.

Narrative [11] is a strategy for organizing information in a pipeline fashion using words, verses, songs, images, animations, etc., made by the issuer to facilitate understanding of the narrative story by the receiver.

In the innumerable narratives of the world [12], “the narrative can be supported by

64 Senses&Sensibility’13 articulated language, oral or written, by the image, fixed or mobile, by gestures or by assortative mixing of all these substances”.

In narrative hypermedia, made possible by the advent of digital technology and the Internet, the receiver also becomes the transmitter of the message that is accessed interactively and non-linearly, with links and navigation control [12].

IV. GAME DESIGN

“Games and narrative are two pillars that support the development of human culture”. [13] But games in a playful sense, existed before the narratives as toys, representations and skills. According to the research of the concepts of play and game [14], freedom is an invariable principle of play, “the smaller the obligation to do something, the more it looks like play.” Games are played in a closed system, formal - clearly defined with rules. The creation of this system, the game, from which comes the playful and meaningful interaction is called game design [15].

Among the definitions of games [15], the item rule is the key element of the game with agreement among theoretical game design (Parlett, Abt, Huizinga, Caillois, Suits, Crawford, Costikyan and Avedon & Sutton-Smith), although each author defined games for private reasons and specific context.

There are two aspects in the study of games: ludology and narratology. Ludology studies the game from your potential gameplay and narratology, studies the game from the multidisciplinary knowledge and narrative [16].

Videogames are games with flexibility and simulation capabilities enable the production of literature and non-linear narrative through multimedia applications.

Videogames may contain storytelling with gameplay, as video games can exist without any narrative element [17].

However there is a certain conflict between gameplay and narrative time, because the game has to happen in the now - when the player chooses to interact, while the narrative is about something past.

In this context, ludology is directly linked to what happens in real time, i.e., the interactivity - the act of playing the game.

Jull [18], meets the definitions of games in ten categories: 1 - rules (formal system), 2 -

Senses&Sensibility’13 65 results (encouraging results), 3 - goals (objectives to be reached in a conflict), 4 - interaction, 5 - artificial conflict, 6 - outside of normal life (unproductive), 7 - voluntary (recreation), 8 - less efficient means, 9 - promotes social grouping, 10 - fiction. However, Jull noticed some inconsistencies; games may have elements of fiction, but not every game is fiction, some games that do not have explicit goals can be considered free-form play, even if the game is separate from the rest of the world (life). The game strategy, like chess, can extend for a large period of time, which can be considered unproductive, from the standpoint of production of physical goods. Gaming is a big industry, and some games can be played in spaces of normal life (RPG) showing that there is a boundary between the perfect activity and the rest of the game world.

With this, Jull created a new definition of games from six characteristics and three categories in a diagram:

Fig. 1. The game diagram. Source: Juul [18].

66 Senses&Sensibility’13 A. GAMES - THE 6 CHARACTERISTICS NECESSARY TO CONSIDER AN ACTIVITY A GAME (IN THE CENTER OF THE DIAGRAM):

1. Fixed rules: Games are rule-based;

2. Variable outcome: games have measurable outcomes and variables;

3. Valorization of outcome: the different potential outcomes of the game are assigned different values, some being positive and others negative;

4. Player effort: player action can influence the outcome of the game - depends on the narrative and interactivity;

5. Player attachment to outcome: the player is emotionally involved with the result, in the sense that the winner will be happy with positive results, and the loser is unhappy with negative results;

6. Negotiable consequences: the game (with its rules) can be played with or without real- life consequences.

B. BORDERLINE CASES

Activities that are game-like resemble games but have one or two features of games. As training simulators, where the outcome does not matter or gambling that requires no effort from the player.

C. NOT GAMES

These activities have some game features, but mostly differ. As the fiction in hypermedia has variable results and bond with the result. Free-form play is also considered non-games mainly because there are no fixed rules.

V. METHODOLOGY

For this research we chose to analyze the eBook- app The Numberlys from Moonbot Studios, named the winner of the Webby Award in the category Best Entertainment app for tablets and mobile devices. Hailed the “Internet’s highest honor” by The New York Times and won the Bologna Ragazzi Prize of Digital Honorable Mentions by Bologna Children’s Book Fair 2012.

Senses&Sensibility’13 67 Scenes from the eBook with greater possibility of interaction (“gameplay”) were selected. From a descriptive and analytical method, characteristics of games were related to the diagram (Fig. 1).

VI. DISCUSSION

The Numberlys tells the story of five characters that create the alphabet in a world that only exist in numbers with its background inspired by Fritz Lang’s film, Metropolis of the 1930s. The narrative takes place in a mixture of literature and film, computer-generated animation. The potential of interactivity is explored with 18 little “games” interspersed within the story. The reader is encouraged to participate in the construction of letters with some “interactive games”. For example, spin pedestals, fire canons, bounce the trampoline, metal hammer to help craft the letters. Such interactivity was analyzed according to the characteristics of game (Fig. 1):

Game eBook-app The Numberlys 1 Fixed Rules ok There are rules for each interactive activity. (Fig. 3a). 2 Variable outcome x There is no score (Fig. 3d). 3 Valorization of x The reader can decide whether to interact or not, and the outcome result will not change. (Fig. 3d). 4 Player effort x The reader’s effort in the interaction can change the time of the narrative, but will not change the result. (Fig. 3b, 3c, 3d). 5 Player attachment x The engagement may occur in the iterative process, but not in to outcome the result. (Fig. 3d). 6 Negotiable x As there is no score, there are also no negotiable consequences consequences. Fig. 2. Analysis framework off the eBook-app, The Numberlys. Source: Author.

68 Senses&Sensibility’13 Fig. 3. a - Rules of the spin pedestals. b - Interaction with the spin pedestals. c - Interaction with the fire canon. d - Outcome of interaction with the fire canons: letter J, there is no score. Source: eBook-app The Numberlys.

Among the features of the first game of the circle diagram (Fig. 1), only one set rule was validated in the eBook-app analyzed.

Based on the classification criteria of this diagram and references to the studies of eBook, narrative hypermedia and game design, it was found that the eBook-app, The Numberlys has attributes and mechanics that make it like a videogame.

VII. CONCLUSION

As an electronic game, the software requires a PC or a console connected to the TV, and digital books need an electronic device to be accessed and read. Both may also be considered hypermedia. However, what sets them apart are the characteristics of games, addressed in the analysis of the eBook-app, The Numberlys based on the game diagram (Fig. 1). In addition, the interactivity and the rules of the game are the most common features that approximate the ludology aspect of the game design.

Senses&Sensibility’13 69 It is common to use attributes of games in other activities, and regarded as Gamification, which is currently evident in ICT, especially in educational applications and marketing strategies to attract and motivate the audience.

Therefore, the desired outcome is that this article has contributed to demonstrating the possibility of including aspects of narrative in games without characterizing the digital book.

REFERENCES

[1] JUUL, Jesper, “The game, the player, the World: looking for a heart of gameness,” In Level Up: Digital Games Research Conference Proceedings: Utrecht: Utrecht Universit, 2003. pp. 30-45.

[2] NETBURN, Deborah, “The Numberlys’ app for the iPad: Storytelling of the future,” Los Angeles Times, Los Angeles: 14. jan. 2012. Available at: http://latimesblogs. latimes.com/ technology/2012/01/the-numberlys-ipadiphone-moonbot studios.html.

[3] RODRIGUES, A. V. Finardi and CRESPO, I. Merlo, “E-book reader: um novo cenário em informação e bibliotecas,” Inf. cult. soc., 2013, n.28, pp. 91-110.

[4] PROCÓPIO, Ednei, O livro na era digital, São Paulo: Giz Editorial, 2010.

[5] DUARTE, Márcio, Ebook: desvendando os livros feitos de pixels, Brasília: m10Design, 2011.

[6] FARBIARZ, Alexandre, “Entre o linear e o não linear do texto impresso ao eletrônico,” In: FARBIARZ, Jackeline Lima; FARBIARZ, Alexandre; COELHO, Luiz Antônio L. (Org.), Os Lugares do Design na Leitura, Rio de Janeiro: Novas Idéias, 2008. pp. 53-89.

[7] BAIRON, Sérgio, O que é hipermídia, São Paulo: Brasiliense, 2012.

[8] LÉVY, Pierre, As tecnologias da inteligência, (tradução Carlos Irineu da Costa), Rio de Janeiro. Editora 34, 1993.

[9] SANTAELLA, Lucia, Navegar no ciberespaço: o perfil cognitivo do leitor imersivo, São Paulo: Paulus, 2004.

[10] GULDIN, Rainer, “Derrida e Flusser: no contexto da escrita e o fim da linearidade,” (tradução Carolina Morandini), Revista de comunicação, cultura e teoria da mídia, São Paulo: 2008. no.11, pp. 14-25.

[11] LAPOLLI, Mariana, AMARAL, R. Rogério do and VANZIN, Tarcísio, “Disseminação do conhecimento: um paralelo entre a evolução da comunicação e das narrativas,” In: VANZIN, Tarcísio, DANDOLINI, G. Aparecida, (Org.), Mídias do conhecimento, Florianópolis: Pandion,

70 Senses&Sensibility’13 2011. pp.173-191.

[12] BARTHES, Roland, “Introdução à análise estrutural da narrative,” In: BARTHES, Roland, [et. al.] (tradução Maria Zélia Barbosa), Introdução à análise estrutural da narrative, 5. ed. Petrópolis - RJ: Vozes, 2008.

[13] RANHEL, João, “O conceito de jogo e os jogos educacionais,” In: SANTAELA, Lucia and FEITOSA, Mirna, (Org.), Mapa do Jogo: a diversidade cultural dos games, São Paulo: Cengage Learning, 2009. pp. 3-22.

[14] SCHELL, Jesse, A arte de game design: o livro original. (tradução Edson Furmankiewicz), Rio de Janeiro: Elsevier, 2011.

[15] SALEN, Katie, Regras do jogo: fundamentos do design de jogos: principais conceitos, vol. 1-3, (tradução Edson Furmankiewicz), São Paulo: Blucher, 2012.

[16] SIMONS, Jan, “Narrative, Games and Theory,” Game Studies, vol. 7, issue 1, Dec. 2006. Available at: http://gamestudies.org/0701/articles/simons.

[17] JUUL, Jesper, “A clash between game and narrative”, Institute of Nordic Language and Literature, Universit of Copenhagen, fev., 1999. pp. 4.

[18] JUUL, Jesper, Half-real: Video Games Between Real Rules and Fictional Worlds, Cambridge, Massachusetts: MIT Press, 2005.

Senses&Sensibility’13 71 Conceptual Project for an Interactive Environment which Creates the “Brasilidade” Experience

Dinara Pereira Lima, Igor Drudi, Iuri Alencar and Marcelo Knelsen UFSC, FLORIANOPOLIS, SANTA CATARINA, CEP: 88040-900, BRASIL

Abstract - This article presents a conceptual project for an interactive environment which creates the “brasilidade” - the brazilian way of life - experience. This experience was molded from factors that defines various brazilian cultural aspects like the brazilian biodiversity and economics, sociological, political, demographical, international and ecological data. This factors were organized into categories and mapped from patterns and dimensions observed by the researchers about “brasilidade”. The dimensions which the factors were organized around are, on the positive side, resilience and sustainability and, on the negative side, misery and ostentation. The project was developed from one of this dimensions, in this case, resilience was chosen. Resilience is to come up with solutions with limited resources. In this project, the V.I.P (Visions in Design) method developed by Paul Hekkert and Mathijs van Dijk (2011) was chosen to guide the design process by establishing it’s very own reason of existence by putting the user and it’s interactions at the center of the system. The method reinforce the idea that the work of a designer is beyond solving today’s problems: the paramount goal is to find possibilities and possible futures and, for that, is necessary to analyze today’s products and contexts. For that matter, the “Favela Chair” (1991), from the Campana brothers, was deconstructed in a symbolic and semiotic way, due to the fact that it represents “brasilidade” with it’s intuitive creativity, originated from the everyday difficulties lived by the residents of a “favela” community, which without a logical project, builds their homes with discarded materials. This article presents the chosen alternative and describes how it supports the materialization of the human-product interactions which build the “brasilidade” experience.

Index Terms — brasilidade, cadeira favela, ux design

I. INTRODUCTION TO VIP METHOD

Developed by Paul Hekkert and Matthijs van Dijk, the ViP model (Vision in product design) [1] aims to establish a final product’s reason for existence. The method, which is user centred

72 Senses&Sensibility’13 and context-driven has 3 basic principles that should be considered:

1) The designer’s job is to look for possible futures, and not simply solve present-day problems.

2) The product only has a meaning when it interacts with people.

3) The interaction developed by the designer is determined by the context for which it was designed, either today, tomorrow or in the future.

The ViP model is separated into two major stages: preparation and design, where the initial goal is to deconstruct an existing design product, understand the product’s interaction level with the user and context in which it operates, in order to make it possible to structure the desired context for the product, your statement, the interaction qualities of the product, and finally develop the concept.

Fig. 1. The ViP model

Following this model, a concept was developed, keeping in mind show Brasilidade abroad who visit Brazil in 2014.

Deconstructing the Brasilidade element: Favela chair

For us to find the elements that represents the desired brazilian characteristics, the Favela Chair was chosen, designed by the Campana brothers, and the following aspects were found:

Senses&Sensibility’13 73 Physical Aspects and perceived qualities

Fig. 2 The Favela Chair

The Favela Chair is made with small chunks of wood, fixed randomly in a metal base and varies in width and length and their placement appears disorganized suggesting some fragility and instability and raise a question: is it safe to sit? It supports a person’s weigth? This chair does not appears to be comfortable and it’s safety is not perceived at first sight and only the reputation of the internationally acclaimed designers can assure the safety and construction quality; sitting is believing.

Context

Designed by the Campana brothers in 1991 the Favela Chair bears this name as an homage to the houses poorly built on top of Rio de Janeiro’s hills and represents the brazilian ingenuity to overcome the odds with few resources. A chair, in the industrial society, is an object with many significancies and often associated with prestine finish and mass production, however, the favela chair represents the opposit: misery, scarcity, low resources, features that represents the way people lives in those poor areas and have to improvise and adapt things to built their homes.

74 Senses&Sensibility’13 The Favela Chair gained international notoriety because it represents the opposite of a product designed to have a small prodution and it’s value is higher than one suspects.

II. DECLARATION AND ANALYSIS OF INTERACTION

Of the four developed quadrants, we concluded that the top left one – the resilience – is that which best represents the “brasilidade” in the Favela chair. Adding our definition of the targeted public to this, the following declaration was stated: “We want the traveling tourist to recognize that the ‘brazilidade’ is in its resilience”. That is, the ability to find solutions to a problem from scarce resources.

Fig. 3. The project’s stated declaration

In the analysis of interaction qualities, we needed to evaluate possible situations of which interactions can relate to our stated declaration, considering that it is through such interaction that the project’s intended objective will take form. Thus, the analogous situations were meant to describe other means to perceive the resilience as a quality of “brasilidade”.

Among the explored analogous situations, we included: camping / scouting, war survival, informal work, homelessness and artisan crafts. Out of these, we chose informal sector as most relevant, considering the various situation in which informal workers (e.g.: street vendors,

Senses&Sensibility’13 75 “camelôs”) must recur to improvisation, such as the scarce or lack of adequate instruments, the centralized tasks and the required knowledge and skills in all steps throughout their work processes, being most of this knowledge acquired empirically.

The result of our analysis of interaction qualities define the product requirements, such as its personality and the necessary perceived qualities to produce the intended interactions. These aspects are described as follows:

1) The interaction intended by our product should be persuasive and exploratory.

2) The personality of our product should be attractive, theatrical, expressive and practical.

3) The product should incite collaborative usage and reconfiguration.

With the information above, we state that the product to be developed, in order to reach its goal of communicating “brasilidade” through resilience, should be able to create a simple, exploratory and persuasive interaction, having an attractive and expressive personality, and allowing users to engage into collaborative and reconfigurable activities.

IV. SOLUTION GENERATION OF A NEW PRODUCT OR EXPERIENTIAL INTERACTIVE ENVIRONMENT

Keeping in mind the statement, similar experiences, interaction qualities, qualities of the product, personas and technology used (augmented reality), an analysis of the consumer journey (overseas traveler) when you arrive at the airport. The solution interactive environment was designed to intercept this experience.

The name of the interactive environment is Gambiarra. This is a game for phones and tablets in augmented reality whose purpose is to show to the foreign people the Brasilidade through resiliency. The player is motivated to participate through the main interest in his visit to Brazil: football and pride to their nation. Thus, the player has the goal of making a goal for his nation by mounting hacks, each goal by a nation is added to a general placement. The more points a nation has, the more rewards will be received.

The game begins with three preliminary stages to the game in order to attract and retain the public through appropriate incentives to the context of the game and the environment surrounding the player can at the moment.

76 Senses&Sensibility’13 Fig. 4. The 3 first stages

The initial stage classified as level 00, so still in the process of checking in, while delivering the documentation tourists will receive a ticket with a ball. This will have a ball called “Make a goal for your nation”, the object is somehow intrusive, to remind the visitor that it exists, as well as a seller.

The next stage, 01, takes place in the waiting room for boarding, where tourists will encounter a totem that calls for the game. These are tables with touch-sensitive surfaces that indicate the visitor a place for him to make the goal (the ball position) and another space for him to put his phone. The ball, as well as the table and the phone have NFC and in that moment, the mobile device will receive the tourist has the game through an application. When you run the application, a message appears in the language of the visitor: “Make a goal for your nation! The Brazil’s love of football that does not need to play many advanced features. Meet the Brazilian way, make a goal in strings “along with the message, the message” Start the game “.

In step 02 should present the operation of the game with a tutorial. An instruction appears on the screen for the tourist point the camera of your mobile device to the table. Through augmented reality, the tourist will see three objects on the table and the tutorial will guide the tourist to make a “stack” with these objects in order to achieve a goal zone that will be on top. By making the goal in the tutorial, the tourist is already gaining a point for their nation. The tutorial motivates him to make new goals, pointing to the screen for setting the departure lounge of the airport, finding starting points on the ground, scattered objects and goals, which may be suspended on the walls and ceiling (only in the virtual environment, whereas in the real environment are just tags, so that the application recognizes the information).

Senses&Sensibility’13 77 Fig. 5. The playfulness process

In stage 03, the process of interaction in the environment of the game begins, using the qualities of interaction to be configurable and collaborative environments pointing to the airport, visitors will find objects that are elements of Brasilidade (plants, objects, food, instruments musical) and objects from airport vendors (such as coffee shops, clothes, food and shoes), to find them once he clicks on the screen to hold it and places the phone on the start point by clicking on the screen again it puts the object on the stack.

To form a stable stack of objects, the player needs to think about the placement of objects, if you put a sofa on a pencil, the first cell will be no stability and after a few warnings, will fall. People who are playing can help one another in the stack, adding objects.

When the stack achieve the goal, all of which are involved in the creation of the stack get a goal for his nation, which will appear on a large map of domination that is near the totem. When you finish the game on mobile also receive real prizes related to the objects they collected, for example, a coffee at the airport.

Some larger prizes may also be given when the visitor is in flight, so other people will see the fact and be motivated to play.

78 Senses&Sensibility’13 Fig. 6. Achieve the goal

VII. CONCLUSION

This work shows the importance of understanding the values contained in the contexts, with emphasis on the interaction between users, processes and environments. Have as main theme an attribute that characterizes a negative aspect of the Brasilidade and turns it into a design experience was a requirement that contributed to the article present the main steps of the methodology VIP.

REFERENCES

[1] P. Hekkert and M. Dijk, Vision in Design, A guidebook for innovators, BIS Publishers, 2011.

Senses&Sensibility’13 79 Package Design Compounding the Brand Imaginary Acquis

Eduardo Napoleão, Richard Perassi Luiz de Sousa, and Luiz Salomão Ribas Gomez Universidade Federal de Santa Catarina, Florianópolis, Santa Catarina, CEP 88040-900, Brazil

Abstract — Like books and movies, brands can tell stories and create emotional connections with people, within a specific language, inside a Design process. By diversified and multisensorial expressions, which have archetypal origins, and managed by social and cultural influence, brands can be perceived by people. In Design processes, the visual shape of a brand starts as an ideia, expressed by dots, lines, plans and colors, as a way to tell people stories by the form. It can be organized through its packages. As a way to improve its connections and create a significant system to the target public, telling them what the brand is, brands can use its identity systems, its products, services, typographies, websites, packages, and others designs, inside a communicational strategic process, as a way to connect people and brands by multisensorial expressions. In this process, its important to understand that the communicational system, which has premised the existance of a emissor, a channel and a receptor in its classical model, is a living and liquid system, influenced by social and cultural processes. This article, developed Significação da Marca, Informação e Comunicação Organizacional (SIGMO/UFSC/CNPq) research group, its a reflexion of how package design is created and is influenced by the brand imaginay acquis, and it is the objective of this study.

Index Terms — Branding, brand culture, design approach, product package, multisensorial brands.

INTRODUCTION

According to the valid dynamics of the social-cultural system, brands developed symbolic characteristics, which go beyond the functions of naming and origin identification of products and services. Since, nowadays, brands live in the public imaginary playing the role of values or lifestyles, which allude to magical states of human and social realization. In part, this is possible because brands, products and services communication is increased with informative- communicative multisensorial experiences.

The classical model of communication has the existence of a sender, a receiver, a context

80 Senses&Sensibility’13 and a message [1]. In brand communication, in design management, the brand is the message itself. Its list must be considered by the sender and interpretated by the receiver.

As a way to develop, implement, manage and evaluate brands, the objective of this article is to propose a reflection about how brands can be created and managed to tell people stories by design, inside a emotional and multisensorial process. As example, it will be described and compared the formal characteristics of two packages of mineral water.

The histories publicly spread by brands offer magical experiences in imaginary worlds, being the script reinforced by perceptible elements associate with the brand. To Semprini [2], brand speeches are capable of create and develop these imaginary worlds. Examples of fictionary worlds were created to brands as: Marlboro, Apple, Nike and Coke. Since these brands offer imaginary worlds, as the Marlboro world, where narrative contents are privileged as the manly and silent hero, the unhabited territory, the lonelyness of the man and the horse, creating the fictional scene of the American western. There is, therefore, esthetic characteristics and denotative representations which cause symbolic-affective connotations. These last ones constitute the brand intangible values, proposing to its public meanings and feelings that transcend existence [3].

II. MULTISENSORIAL BRANDS

The brand is, therefore, composed by tangible aspects, expressive-denotatives, and by intangible aspects, symbolic-connotatives. The set of denotative aspects is objectively perceived and the set of connotative aspects is subjectively lived by the public, in an imaginative way, due to its meraly symbolic-affective nature.

To McCracken [4], “any product, service, brand or institution is summed up by the meaning that people see in them, or create from them”. The processes of creation, development, management and evaluation of brands are culturally inserted and are constantly stimulated by cultural changes of society which, nowadays, Bauman characterizes as liquid [5].

III. DENOTATION AND CONNOTATION

The denotative language is the one used to describe the characteristics of certain element. The described terms express the reality of a particular object, or its extrinsic characteristics.

The term denotative “describes what an object is and not what it means”. May be considered

Senses&Sensibility’13 81 the primary meaning of something. But, the language of design may also be described in connotative terms, developing feelings and meanings according to social-cultural imaginary and assuming a wide “range of secondary meanings” [3].

The denotative values and conntative multisensorial stimulus of expressive elements of a brand occur from its information process and base its communication with the receiver public.

To Noble [3], the feelings and meanings are important because the expressive aspects or formal of the produced message will arise in the cultural context which is communicated. The control of denotative and connotative factors of the message is fundamental for a good development and the process management of communication. Since, this control defines the set of sensations and meanings produced to influence experiences and the public imaginary.

The function of a designer is to inform, that is, give shape to the perceptible material, so can accomplish its function and express ideas. Thereby, it is projected the information that will act in an efficient manner and communicate the public the denotative and conntotative meanings coherent with the brand values. In raw state, a material, as glass, is an amorphous substance, needing to be formally organized to fulfill functions and propose meanings, example, look like and act as a bottle [6].

Nowadays, the most relevant to brands is the connotative content of its message. However, like the denotative, the connotative is also primarily provided by the sensorial or expressive elements of the message. Inclusive, there are connotative aspects which result directly from the expression of the message without appealing to denotative signs mediation. Inclining the letters of a word, using the italic spelling, the connotative meanings of movement and speed are proposed, without the mediation of a denotative element, as the picture of a horse of the word “horse”. Therefore, some connotative contents are primarily and exclusivily determined by aspects meraly expressive or aesthetics.

IV. DEVELOPMENT OF BRAND IMAGINARY FROM THE PRODUCT PACKAGE

The multisensorial stimulus and message content are managed with the strategic control of information in the brand contact points with the public. The product is the main contact point of the brand, because it focuses all the satisfaction promises that are made to the public consumer.

Before trying the central product, however, the public consumes different publicity

82 Senses&Sensibility’13 products, mediation services and, yet, other products that protect and support the main product. So, usually, the package acts as protection product and support for the main product. But, is also a multisensorial communication system.

The projects and manufacturing of publicity and support products, as the offer of mediation services must have a high quality. Since in this part of mediation, a small disappointment from part of the consumer public might frustrate the decision of trying the main product.

The contact with the package performs, thefore, the last and decisive stimulu offered to the consumer public to incentivate it buying and consuming the main product of the brand. So, in the following examples, two kinds of packages are described, both support the same product, mineral water, however they offer different aesthetic-symbolic experiences.

The first bottle described (Pic. 1) is from the brand Perrier, being originally molded in glass, promoting the sensation of the colour green, with a vertically simetric shape, developing itself as an ellipsoidal and continuous volume, until its interrupted by the base cut.

Pic. 1. Perrier water bottle.

Source: Author (2013)

Senses&Sensibility’13 83 The product label is graphically compounded and formally disposed so it is integrated to side of the bottle. There is a golden part which duplicates the side colour of the bottle cap and, in the center, there is a round green shape, with a dark arear that duplicates the volume effects of the glass package. The round part presents the brand name inclined and written with white letters. The label extends itself in side ribbons, assuming the diagonal position. Thereby, adapts perfectly to the conical part of the package (Pic. 1).

In the package superior part, covering the opening of the glass body, is presented the metal cap, which promotes the sensations of golden and Green colours (Pic. 2)

Pic. 2. Bottle cap of Perrier bottle

Source: Author (2013)

The superior part of the cap presents a round seal printed in green and golden colours, with a central monogram composed by arabesques and the letters “S” and “P”. All the cap side part is golden, with variations of volume and texture to ease the act of distorting the cap and release the bottle opening.

Taking as reference the label with the brand name in the front parto f the package, in the inferior back parto f the bottle, another label appears in and ellipse format with the technical indications about the origin and the product characteristics. (Pic. 3).

84 Senses&Sensibility’13 Pic. 3. Labels of Perrier bottle

Source: Author (2013)

Even though is not possible to certificate this from the image, the experience of use shows that the size and specially the package volume fit in a satisfactory way in the medium size hand of an adult user.

For its size, its material constitution and shape, composing a multisensorial aesthetic and, yet, due to the symbolism of these expressions in association with cultural values, the water package of Perrie proposes a narrative related to the public imaginary, which is related to situations of refinement and peacefulness.

The package speech proposes that the product is consumed in a water glass, made of crystal or glass, over a white towel, after being served by a waiter or a gentleman. After all, is a natural product, green, transparent, clear, deep and, also, noble, with emerald colour, golden tones and seal with a monogram.

The draw simplicity, with lines pure, curvy and continuous, is a signal of elegance and sophistication, being this one reinforced by the sense of depth, that is obtained be the duplication of the wall glasses in emerald green. The style used was the “less is more”, to express refinement and sophistication.

The package speech do not propose the fast or in movement consumption of the product, because its appearance requires care, calm and refinement.

The water sold in the package previouly shown (Pic. 1, 2, 3) is imported from France, being considered with a high quality and very traditional. But, the same part of the public that does not know the product origin and the tradition is informed of its positioning by the multisensorial

Senses&Sensibility’13 85 speech and culturally significant, proposed by its package.

The second bottle described is from the brand Imperatriz, originally molded in plastic material and transparent, with details in blue and vertically symetric (Pic. 4). However, the shape of its volume mostly ellipsoidal is interrupted in the central part of the package that assumes the cylindrical shape and, also in the final part of the product to compose the package base.

The package surface presents diagonal grooves (Pic. 4) and the central cylinder is covered by the product label (Pic. 4). In the bottleneck, there is straight flap marking the separation between the part occupied by the cap and the rest of the package. The cap contrasts with the package for being opaque and promoting a strong sensation of blue, while the rest of the package is transparent and slightly blue.

Pic. 4. Imperatriz water bottle.

Source: Author (2013)

The side part f the package cap has grooves (Pic. 5), its purpose is to increase the friction, ease the act of screwing the cap and release the bottle content. The superior view presents the brand name, Imperatriz, written in white, with the first letter in capital letter (Pic. 5).

86 Senses&Sensibility’13 Pic. 5. Package cap of Imperatriz bottle.

Source: Author (2013)

Beyond that, about the three last letters of the name, there are three white spots, in drop shape, and the middle drop is bigger than the other two. The set of spots, besides being drops, suggests also a crown, due to its structure and placening (Pic. 5)

The central label surrounds the entire package, being the back part dedicated to the origin and the technical characteristics of the product (Pic. 6). Observing the label, most of the sensation tones are light, blue and white and the spelling in dark blue. Therefore, the brand name appears in the same cap lettering, however in dark blue. The three spots and the drop shape also appear over the three letters of the name (Pic.6)

In the inferior front of the label appears the expression “plain water”, and in highlight, is informed the quantity of product: “Content 500ml” (Pic. 6). So, in the brand logo and in the label there are ambiguous representations which suggest in the same picture water and crown. This reinforces the meaning of the name Imperatriz (Empress) with the look of imperial power, the crown.

Senses&Sensibility’13 87 Pic. 6. Package label of Imperatriz bottle.

Source: Author (2013)

The package speech of Imperatriz proposes that the product is consumed anywhere, standing or in movement. Since, it is an unbreakable plastic package, whose surface is covered in niches, grooves and more obstacles, so the product does not escape from the different users. Therefore, proposes the speech that marks a popular product, but with higher quality, because the content of this package, that is accessible and informal is the empress of waters.

The origin of Imperatriz brand is related to the city of Santo Amaro da Imperatriz, located in the Brazilian state of Santa Catarina. The product commercialized by the brand is also traditional being previously consumed by the royal Brazilian family. However, despite this tradition the brand positioning is popular having its distribution indifferently in bars and markets

V. CONCLUSION

So as othe brands, the brands packages here presented tell different stories when they relate their material expressions with the social-cultural values in vigor.

Summarizing, the Perrier product package is presented to the consumer public as a

88 Senses&Sensibility’13 product destined to empresses, nobles and ladies and gentleman, which in general still want to experience livings of refinement and sophistication, willing to pay more for this.

On the other hand, Imperatriz product package, despite having a differentiate name, expresses a popular positioning with a pratic speech, straight and deprived from the elegance characteristics suggested by the name. So the name Imperatriz (Empress) becomes a product qualitative, but does not stands for public differentiation. For those who know the regional name origin, the product assumes a special mean, being related to the affection to the place of origin. Although, in relation to competition expressions, the package speech does not distinguishes the brand that, in this item, presents practically as a commodity.

ACKNOWLEDGEMENT

This texts represents part of the studies made in the área of communication and brand management, which compound the research line in Design Management in the Design Graduation Program from the Federal University of Santa Catarina (UFSC), being equally part of the researches made in the center of study of Brand Meanings, Information and Organizational Communication.

REFERENCES.

[1] C. E. Shannon, and W. Weaver, A Teoria Matemática da Comunicação, São Paulo: Difel, 1975.

[2] A. Semprini, A Marca Pós-Moderna, São Paulo: Estação das Letras e Cores, 2010.

[3] I. Noble, Pesquisa Visual, Porto Alegre: Bookman, 2013.

[4] G. McCracken, Chief Culture Officer,São Paulo: Aleph, 2011.

[5] Z. Bauman, Modernidade Líquida, Rio de Janeiro: Zahar, 2001.

[6] V. Flusser, O Mundo Codificado, São Paulo: Cosac Naify, 2007.

Senses&Sensibility’13 89 Wine Consumer Behavior Profile: A Quantity Approach In Florianópolis

Érico Fernando Baran Gonçalves Consumer Research, Florianópolis, Santa Catarina, Rua Mário Lacombe 272 ap 03 88054-260, Brazil.

Abstract — The following presentation, has as it’s goal, to identify the wine consumer in Florinanópolis. His behavior and preferences about the local wine market and the consumer wine appreciation. Finding out if the buyer is satisfied with the local market, and compare preferences between the consumer in Florianópolis and the consumer in Brazil.

Index Terms — Buyer, consumer, Florianópolis, market, wine.

I. INTRODUCTION

Wine consuming is spreading wide in Brazil. Even the buyer’s rate is considered low, the habit of consuming the product is growing. According to researches, the importing of the product has grown 30,7%, and the statistics for 2013 seems even better. [1]

The researchers also indicate an increase of 20% for the national product, with even bigger chances of growing on the upcoming years.[2]

The wine market in clearly expanding in Brazil, but where does the city of Florianópolis fits in?

This paper seeks to identify the wine consumer in Florianópolis, his preferences, habits when purchasing the product, his opinion regarding the local market, and also, draw a comparative, between the wine consumer in Florianópolis, and the wine consumer in Brazil.

To gather the data, a group of question was sent to the buyers of the five major wine stores in Florianópolis through e-mail, s[o the consumer could respond it according to his preferences.

The answers were than gathered and compared, and the results, are displayed in this research.

II. WINE - DEFINITION

Before we proceed, we must first define what wine is. Accord to LONA [3], wine is the natural transformation of the sugar in grapes, into alcohol, and a variety of other components, though

90 Senses&Sensibility’13 the process of brewing. Process in wich the man, only conducts so that nothing bad happens during the brewing.

III. WINE AND SOCIETY

Wine has always been part of the human civilization, even from the start. Ancient greeks, romans and egyptians had in the wine, a deep symbolic meaning.

Considered to be a gift from the gods, it was widely used in religious cults and celebrations, as still it is today, wine was also a symbol of civilization and commonly used as medicine. [4].

IV. WINE IN BRAZIL

Wine comes to Brazil with the portuguese in 1532. Martin Afonso tries, unsuccessfully, to breed the grapes at the coast of São Paulo. [5].

Only with the arrival of the italian immigrants, the wine culture begins to prosper. Finding in Rio Grande do Sul, the most appropriate climate condition to breed. Rio Grande do Sul is still the main wine producer in Brazil. [3].

Brazilian people took a while to appreciate the product, thanks to the portuguese influence. With great influence in brazilian territory, Portugal fearing the the local cachaça and beer would impose risk to the wine market, made economic barriers to the products, so the brazilian people would buy more portuguese wine, instead of Brazilian cachaça and beer [6].

But the measures did not went as expected, and the Brazilian people, started to boycott wine, as a symbol of Portugal. And this resistance to the product persisted [6]. Only after 1970, with major investments into technology and researches that the wine market started to really grow in Brazil.

V. DATA GATHERING

In order to accomplish the results, a group of question were develop and displayed at Google Docs plataform. Then, the link to the questions were sent to the five major wine stores in the city, and then set to their respective costumers, so anyone who had access to the link, could answer according to his own preferences.

The answers of the seventeen responded questionnaires were analyzed and put together in order to form statistics, giving the results that will be displayed next.

Senses&Sensibility’13 91 VI. RESULTS AND CHARTS

Fig 1 represents how often does a person purchase wine.

Rate of buying answers % weekly 0 0,0 Every 15 days 4 23,5 monthly 5 29,4 Occasionally 8 47,1 Total 17 100,0 Fig 1: How often does the consumer buys/consume wine.

Fig 2 shows how much does the buyer usually pays for the product, in R$.

RS answers % 20 to 40 7 41,2 41 to 60 8 47,1 61 to 90 2 11,8 91 or more 0 0,0 Total 17 100,0 Fig 2: Usual price of product purchased.

Fig 3 represents the preference about type of wine.

Wine answers % White 2 11,8 Sparkling 4 23,5 Red 11 64,7 Rose 0 0,0 Total 17 100,0 Fig 3: Preferences according type of wine.

92 Senses&Sensibility’13 Fig 4 represents preference according to varieties of grapes.

Grapes answers % Cabernet 3 17,6 Sauvignon Chardonnay 4 23,5 Malbec 4 23,5 Merlot 4 23,5 Riesling 2 11,8 Total 17 100,0 Fig 4: preference according variety of grape

Fig 5 shows that the majority of the consumer prefers imported wine.

Origin Answers % Brazil 11 64,7 Foreign 6 35,3 Total 17 100,0 Fig 5: preference according origin

Fig 6 displays the preference according to country, for the foreign wine.

Country answers % Argentina 4 30,8 Chile 3 23,1 Spain 3 23,1 France 2 15,4 Italy 1 7,7 Total 17 100,0 Fig 6: preference of imported wine according country

Senses&Sensibility’13 93 Fig 7 shows the preference regarding the harvest.

Harvest answers % Until 3 years 1 5,9 3 to 5 years 9 52,9 5 to 7 years 6 35,3 More than 7 1 5,9 years Total 17 100,0 Fig 7: preference according to harvest

VII. WINE MARKET IN FLORIANÓPOLIS

Next, we are going to analyze how the buyer sees the local wine market, and also his habits and music preferences.

Fig 8 shows the satisfaction of the costumers regarding the local market.

Satisfaction answers % Bad 1 5,9 Medium 3 17,6 Good 13 76,6 Total 17 100,0 Fig 8: consumer’s satisfaction about the local market

Other important factors raised in the research, regarding the consumer, it that 41,2% of the costumers researched, claims that the local market is expanding, 23,5% affirms that is satisfied with the amount of labels available for purchase, but resents the few specialized wine stores, for as city as big as Florianópolis.

Some of the answers concerning information that leads someone to buy wine, points out that magazines and internet have great influence, but the most influential source is the advice of friends about wine.

Price is pointed as the lead factor in wine purchase, with 55,0% of the answers, followed by special occasions, such as birthdays for example, with 35,0% of the answers.

94 Senses&Sensibility’13 Fig 9 leads us to a better understanding of the costumers, exploring his musical preferences.

Music Genre Answers % Mpb 5 29,4 Rock 3 17,6 Samba 3 17,6 Country 3 17,6 Classic 2 11,8 Metal 1 5,9 Total 17 100,0 Fig 9: Music genre

VIII. CROSSING REFERENCES

From the information gathered so far, we are now going to compare the figures to better understand the wine consumer in Florianópolis. Fig 10 shows us the relation between satisfaction with the local market, and variety of grape.

Grape Bad Medium Good Total Cabernet Sauvignon 1 2 3 Chardonnay 1 3 4 Malbec 1 3 4 Merlot 1 3 4 Riesling 2 2 Total 1 3 13 17 Fig 10: Grape X satisfaction with the local market

Fig 10 shows us that the consumers of white grapes, are more satisfied with the local market than the consumers of red grapes.

Next, on fig 11, we can realize that the consumer of national wine, is more pleased with the local market, than the consumer who prefers foreign wine.

Origin Bad Medium Good Total Foreign 1 3 7 11 National 6 6 Total 1 3 13 17 Fig 11: Origin X Satisfaction with the local market

Senses&Sensibility’13 95 According to music genre, the consumers who listen to classic, metal and rock music are more pleased with the local market, than those who listens to mpb, country and samba, as shown on fig 12.

Music Bad Medium Good Total Classic 2 2 Metal 1 1 Mpb 2 3 5 Rock 3 3 Samba 1 2 3 Country 1 2 3 Total 1 3 13 17 Fig 12: Music genre X Satisfication with the local market

We also made the reference between music genre and grape. Displayed below on fig 13. We can see that the one who listen to country music, have preference for Cabernet Sauvignon, and those who listen to metal music, prefer Riesling.

Musi Cab. Sauv. Chard. Malb. Merl. Riesl. To Class 1 1 2 Metal 1 1 Mpb 2 1 2 5 Rock 1 2 3 Samb 1 1 1 3 Count 3 3 Total 3 4 4 4 2 17 Fig 13: Music X Grapes

Finally, fig 14 shows us the relation origin of wine X type of grape.

Origin Cab. Sau. chardo malb merl riesl Total Foreig 3 2 3 3 11 Nation 2 1 1 2 6 Total 3 4 4 4 2 17 Fig 14: Origin X Grapes

96 Senses&Sensibility’13 IX. FIRST CONCLUSION

The purpose of this research was to draw a statistic profile about the wine consumer in Florianópolis. The data was conducted on a sample of seventeen consumers who responded the formulated questions.

The respondents usually consume the product during special occasions (47,1%), what makes us realize that the wine is still seen as a elite beverage. The medium price of the purchased wine is between R$40,00 and R$60,00, Besides, 64,7% prefer red and foreign wine, mostly Cabernet Sauvignon and Merlot from Argentina (30,8%).

About the wine market in Florianópolis, 76,5% of the costumers said to be satisfied with the local offer. 55% said that the price is the most important aspect when buying the product, and point out that there are few specialized stores, and too far away from each other.

Regarding music genre, those who preffer classic, rock and metal music, are more pleased with the local market them those who listen to samba, mbp and country music.

X. CONCLUSION

According to the studies pointed in this paper, we can say that the consumer’s behavior in Florianópolis reflects the brazilian’s behavior.

Both prefer red and foreign wine, specially the traditional grapes like Malbec and Merlot, from Argentina. Regarding white wine, the national product receives better position.

Both consumers see the wine as a product designated for celebrations or other special occasion. And also, both consumers, when purchasing wine, prefer to go with the already know choice, rather than the curiosity of knowing a new experience, even with a wide variety of labels. For both consumers, the price is important when making a decision.

Now, this research leaves a gap for other researches. We already know the local consumer of wine. Now, the challenge is how can we make this potential buyer, to know new varieties of product, getting out of his comfort zone.

It is up to the wine, marketing and also kitchen professionals, to make this new experience reachable to this consumer, making him finding out, that he likes something that he probably still don’t know.

Senses&Sensibility’13 97 ACKNOWLEDGEMENT

The authors wish to acknowledge the assistance and support of the IMS Steering Committee.

REFERENCES

[1] http://www.iea.sp.gov.br/out/LerTexto,php?codTexto=12311, access in 04/05/2013.

[2] http://www.abras.com.br/clippingphp?area=20&clipping=33634, access in 04/05/2013.

[3] LONA, Adolfo Alberto. Vinhos degustação elaboração e serviço.AGE. Porto Alegre/RS. 2003.

[4] STANDAGE, Tom. A história do mundo em 6 copos. Jorge Zahar, Rio de Janeiro/RJ. 2005.

[5] SANTOS, Sérgio de Paula. Vinhos.T.A. Queiroz, São Paulo/SP. 1982.

[6] ALZUGARAY, Domingos. Como Fazer Cerveja. Editora Três. São Paulo. 1985.

98 Senses&Sensibility’13 Formula of Innovation: Contributions of Methodologies for Construction of a Tool for Innovation in Corporations

Francieli Balem and Luiz Salomão Ribas Gomez. University Federal of Santa Catarina, Florianópolis, Santa Catarina, [email protected].

Abstract — This article presents concepts and contributions of design management, branding and innovation. Presents itself, a study on methodologies and design innovation, design thinking, business model and generation Brand Dna Process with concepts integrators new processes to generate innovation. Thus, this study aims to present a tool to generate innovation. The methodology used to achieve the goal, we used exploratory research and bibliography. It begins on a review of the literature on design management, branding, innovation, and descriptions of the methodologies chosen for analysis. The results showed that there are new possibilities of design as enabler of innovation, with the purpose of innovative and consistent

Index Terms — Design; tool; innovation.

I. INTRODUCTION

It is known that, given the current dynamics of the social and economic context, innovation is crucial for a corporation to maintain and grow the market. The connectivity is increasingly present, consumers are more informed, more competitive markets, dynamic, technology and more changeable.

Organizations are in urgent need for those able to create new viable concepts. Innovation skills are needed in all fields and at all levels. From individuals to organizations, competence means innovation advantage. “Innovative companies are those that make innovation as a systemic activity, focusing on their core competencies.” (KOLOPOULOS, 2011, p.65).

Innovation is not only the act of introducing something new, but it is to introduce something new that becomes widely adopted (BEZZERA, 2011).

In the current context, competitiveness requires innovation, you can not depend on or just accept the idea that innovative concepts come exclusively gifted people, or that innovation is an intellectual “accident” of inspiration and not the result of hard work and focus.

Senses&Sensibility’13 99 In this sense, this research aims to discuss the study of methods of design and innovation, from these studies, the objective is to integrate concepts such as design, management, branding and method, a proposal to create a tool to generate innovation.

II. INNOVATION

Changes in all sectors of the economy are constant. The hyper competitiveness, opening markets more dynamic, rapid development of technology, everything has impacted incisively organizations, making them increasingly consider innovation as a strategic competency.

Innovation then becomes an emerging issue and essential in the new scenario presenting the business. Which comes to important changes that create new experiences, signifying a change in behavior. “The innovation aims to transform the context of our lives and create possibilities never before imagined” (KOLOPOULOS, 2011, p.12).

Conceptually, the Oslo Manual (OECD, 2005, p.46) presents the idea that innovation is the implementation of a product (good or service) new or significantly improved, or a process, or a new marketing method, or new organizational method in business practices, the organization of the workplace or external relations.

Koulopoulos (2011) defines innovation as something other than invention states that innovation is not invention, it is not intended to create the next trinket a wonder drug or a weapon of mass destruction.

Is an effect that the invention: requires little effort; occurs at a certain time; comprises autonomous and distinct ideas; leads in general to low value over time; concentrated in products and processes do not. Innovation is more than that. It is a process that: behaves measurable value; requires investment and sustainable development; transforms behaviors and cultures; causes fundamental changes in a business and its processes, and not just a product or service (KOLOPOULOS, 2011, pg. 12).

Therefore, the author discriminates that an invention can become an innovation, there is a way to go, which requires the generation of many new ideas, as well as the ability to filter them in a quick manner, focusing on those that represent value.

From this it is possible to start the construction of innovation. That according to Tidd (2008) classification exists for innovation where it is divided into 4 types: 1) Product innovation: changes in products / services a company offers, 2) Process innovation: changes in the way

100 Senses&Sensibility’13 in which products / services are created and delivered; 3) Innovation Position: changes in the context in which products / services are introduced; 4) Innovation paradigm: changes in the underlying mental models that guide what the company does.

To Prahalad and Krishnan (2008) companies must be based on solutions and innovative experiences, and build specific models to focus on the consumer. Innovative firms are those that make innovation as a systemic activity, focusing on their core competencies (Koulopoulos, 2011), and internal processes are critical to support the culture of innovation (PRAHALAD, KRISHNAN, 2008).

III. METHOD AND DESIGN

For a better discussion on the topic of design methodologies, it is essential that there is an understanding of their general concept, since there are several definitions of the term. These definitions that show different views of some authors and give rise to differentiated use of the design methodology, thus confirming, for the development of different methodological schemes.

The design methodology can be considered as a set of methods or procedures that aid in activities. According to Alexander, the design process is the act of inventing structures or real objects that present new physical order, organization and shape in response to the function. He further comments that the problem of design requirements has to be defined, but also has multiple interactions and relationships between them, which makes this definition (ALEXANDER, 1964).

That said, through analysis of common definitions of the authors studied, it is possible to establish a more comprehensive definition of Design Methodology, could then be understood as a process determined by schemes, and based on distinct stages, which aims to improve and support the designer in developing solutions to a given problem by providing a support techniques, methods or tools. The author Gomez (2004, p.32) supplemented with the following idea:: Methodology = (methods + techniques + tools) Sense.

From this concept, studies and methodologies of design and innovation, has developed a tool to generate innovation, describes how is the process of construction, shape structure, its use as close captions.

Senses&Sensibility’13 101 IV. DEVELOPING A TOOL FOR INNOVATION

In an era of increasingly competitive markets, the major difference of innovation is increasingly facing interaction of people’s talents. Objective and interactive creativity across multiple talents, internal and external, business partners, stakeholders, a matter of interaction.

Provide interaction, is a form of amplitude spectrum of professional designers, putting the same language or facilitating the exchange of information, leaving the easiest solution to be found for the success of the product/ service being developed.

Therefore, we thought of a tool for facilitating the innovation process, were sought from the studied methodologies, words, concepts, steps that the outstanding real answer to generate innovation. Then presents the tool and its phases:

Fig. 1. Description of the phases of the tool to generate innovation.

A. IDEA

To Trichez (2012) idea is basically the mental representation of something concrete, abstract, or chimeric, is also knowledge, information, idea, or intention, plan, purpose, design. By citing “mental representation of something concrete” are the two phases of the creative process: the subjective (mental) and objective (concrete).

Trichez (2012) complements emphasizing that ideas emerge as possible solutions to that problem, thoughts are specific and concrete that may result from observations, visions or preliminary studies. But as there is the idea? It is not something supernatural that arises

102 Senses&Sensibility’13 suddenly the thought of the architect without explanation. If it were considered in this way, it would not be possible to design teaching. On the other hand, we can not consider that for the emergence of an idea there is a step by step to ensure your appearance, because this way anyone could follow the procedure to get the idea intended.

B. LEADER

A definition in this direction is that treats leadership as the process of social influence through which an individual supports other, the followers, the achievement of a task or mission (CHEMERS, 2009).

The leader takes the position that this environment is of paramount importance to their interaction with the individuals in the organizational environment, so that the objectives and results, which the organization intends to achieve are achieved. Leadership style can promote the unity of the group, when it is able to stimulate, facilitate, streamline activities in a natural way, generating a commitment spontaneous arising of credibility and trust between leader and led.

It is important to do a mapping of competencies that second (Fraser, 2012) because it makes sure the diversity and clarity with respect to skills, knowledge and functions. Fraser (2012, p.98) says, “is a collaborative way to show appreciation for what each team member brings to the project and specifically reveals personal passions related to the project.”

C. TEAM

The establishment of a team gives to incorporate the right knowledge. (Fraser, 2012 p.94) emphasizes “establishing a multidisciplinary team that brings diverse experience, perspectives and management skills for the journey.”

D. INVESTEMENT

You need time to develop and make available money to invest. When we speak of values the author Guillebeau (2013, p.148) says “it is absolutely possible to start with a very low budget without reducing the chances of success”.

E. MEHODOLOGY

Gomez (2004) presents a methodology for setting very interesting that sum method,

Senses&Sensibility’13 103 technique and tool and all these elements take into consideration the good sense of who uses them. This “formula” method is to be developed as the project, the way it should go and the procedures to be adopted. Since the techniques are the tools that will be used to solve the problem. And the tools are the physical and conceptual tools that will be adopted.

F. THEORY

The theory relates the research that has been developed on the subject. In Brazil the majority of research happening in the academic: periodicals; books; Google Scholar.

G. PRACTICE

Prototyping is traditionally thought of as a way to test the functionality. But prototyping is used for many reasons, including those categories (not mutually exclusive):

“Any tangible thing that allows us to explore an idea, evaluate it and takes it forward is a prototype. I’ve seen sophisticated insulin injection born as legos. I saw models of software interfaces made of post it long before a single line of code is written. I saw new concepts represented before banking customers in the form of sketches, in a scenario of “points” made of flimsy Styrofoam plates mounted with masking tape. In each of these cases, an idea given expression through appropriate resources to be presented to people and collect feedback” (BROWN, 2010)

H. MARGINALITY

Marginalization corresponds to seek references where others do not usually get up. For example, develop an agenda for contacts with people as different from each other as possible. A microbiologist to a priest, containing philosophers, artists, designers, engineers, dentists, etc..

Joining and participating in discussion groups and fostering the questions to which we propose to investigate. Search networks, forums and organizations both on and offline.

I. CO-CRIATION

The co-creation can be regarded as involving others in the development process. Search customer engagement for the creation or development of products and services.

Co-creation is “a form of innovation that happens when people from outside the company, are associated with the business or product adding value innovation, content or marketing and

104 Senses&Sensibility’13 receiving in return the benefits of their contribution, whether through access to customized products or promoting their ideas. “

Fraser (2012, p. 168) “co-creation prevents team members from getting too attached their own ideas and provides an outside opinion (mainly end-user).”

J. EMPATHY

Can you imagine the world from multiple perspectives of colleagues, customers, end users and customers [...] design thinkers can imagine solutions that are inherently desirable and meet explicit or latent needs. [...] They see things that others do not perceive and use their expertise to inspire innovation. (Brown, 2008)

C. CULTURE

Culture is everything that we find the open doors and windows (home or any corporation). It’s all dynamic ideas, activities, emotions, habits, preferences, demonstrations, speeches and attitudes that make up the life of an interesting group called “people” (Preface McCracken, 2011, p. 8)

“The culture is important because it is when they discover the advantages, opportunities and innovations” (McCracken, 2011, p.12). Culture can be fast or slow both of fundamental importance. To (McCracken, 2011) culture is fast always the center of attention, it is more visible, lived, and obvious, yes, modern. Already culture slow, is less interesting, less modern. But one aspect is enduring and deeply rooted in our culture.

VII. CONCLUSION

It can be inferred that the innovation process is based more on attracting the right information and proper use, than just massive investment in technology such as machinery and equipment. Innovation does not necessarily have the best computer or the best machine, but having the proper tools to find the information that generates added value to the product that is offered, taking into account consumer expectations. Accordingly, a tool is essential for innovation, since it involves the provision of relevant information within a particular culture in a certain future.

The contribution of this design becoming permanent and effective, with a totally strategic

Senses&Sensibility’13 105 ally managing design and branding, developing a process with routines able to act as an integrating tool, and thus becomes an enriching process in order to be transformative dynamic, continuous and interactive, through the most appropriate solutions to reality.

Regarding the specific approach of methodologies, the use of some phases, steps, concepts, characterized as a potential, the principles of each of the three addressed relate in some way next, because the methods have the goal of creating the solution.

Added to this, for the effectiveness of the process itself, set up the tool to generate innovation, which is characterized as a support for it for it to happen. It is driven with a difference of knowledge, experience, and a holistic, able to analyze numerous possibilities before focusing on just a few, so will take a major stimulus generating innovative solutions and wholly consistent.

REFERENCES

[1] T. KOULOPOULOS. Innovation with result: Look beyond the obvious. São Paulo: Editora Gente / Editora Senac. 2011.

[2] BEZERRA, Charles. The innovation machine: minds and organizations in the struggle for differentiation. Porto Alegre: Bookman, 2011.

[3] OECD. Oslo Manual: guidelines for collecting and interpreting innovation data, 3rd ed., 2005.

[4] TIDD, Joe. Management of Innovation. Porto Alegre: Bookman, 2008.

[5] PRAHALAD, C.K. KRISHMAN, M.S. The new age of innovation: driving co-creation of value through global networks. Rio de Janeiro: Elsevier, 2008.

[6] ALEXANDER, C. Notes on the Synthesis of Form. Cambridge: Editora Harvard University, 1964..

[7] H. GOMEZ, L. S. R. The 4p’S design: a methodological proposal nonlinear design. Florianópolis, 2004. Tese (Doutoramento em Engenharia de Produção) _ Universidade Federal de Santa Catarina..

[8] TRICHEZ, Cristiana T. Silva. THE IDEA IN DESIGN PROCESS OF INTERIOR ARCHITECTURE: METHOD OR INSPIRATION. Dissertation submitted to the Graduate Program in Architecture and Urbanism of the Federal University of Santa Catarina for the degree of Master. SciVerse. Dr. Luiz Ribas Solomon Gómez.

[9] H. Chemers, M. M. (2009). Leadership. Em Reis, T. H. & Sprecher, S. K. (Eds.) Encyclopedia of

106 Senses&Sensibility’13 Human Relationships (Vols. 1-3). Thousand Oaks: SAGE Publications. Retirado em 18/07/2013 de SAGE Reference Online: http://sage ereference.com/humanrelationships/Article_n310.html.

[10] FRASER, H. Design for business in practice: how to generate innovation and growth in companies applying the design bussines. Rio de Janeiro: Elsevier, 2012.

[11] Guillebeau C. The Starup $ 100. Sao Paulo: Saraiva, 2013.

[12] BROWN, Tim Design Thinking: A powerful methodology for declaring the demise of the old ideas. Rio de Janeiro: Elsiever, 2010.

[13] BROWN, T. Design thinking. Harvard business review, v. 86, n. 6, p. 84-92, 141. 2008.

[14] MCCRACKEN. G. Chief Culture Office - How Culture Can Determine Success or Failure of an Organization. Sao Paulo: Aleppo, 2011.

Senses&Sensibility’13 107 Development of 3D Animations to Teach Resistance of Materials – The Impressions of Design Students

Gabriel de Souza Prim, Fernando Sharp Jeller, Edmilson Rampazzo Klen Federal University of Santa Catarina, Florianópolis, Santa Catarina, Brazil

Abstract — The resistance of materials is a branch of mechanics that studies the relations between external forces applied to a deformable body as well as the intensity of its internal forces, calculating the deformations of the rigid body and studying its stability. Even though it is commonly studied in the engineering courses, it is also teached in other courses, like the Design graduation at the Federal University of Santa Catarina in Florianópolis - Brazil, where it is primarily applied on the scope of products design. The study of materials resistance is of great importance in the Design sector in so far that students develop a knowledge base related to the resistance of the product not only during the production processes but also during its entire lifetime. With this acquired knowledge the designer is able to better choose the materials to be used for the products, better estimate its life cycle and minimize the number of prototypes needed to verify its resistance. In order to facilitate the understanding by the students in this discipline, it was proposed the creation of graphical animations to simulate the application of forces and the behavior of material. The graphical animations area a powerful visual tool which illustrate the theory teached in the classroom, allowing students to understand better and faster the concepts of resistance of materials.

Index Terms — Resistance of Materials, Design, 3D Animation.

I. INTRODUCTION

According to Hibbeler, 2004, the resistance of materials is the branch of mechanics that studies the relationship between external loads applied to a deformable body and the intensity of the internal forces that act into the body also covering the calculation of deformations of the body and the study of their stability when subjected to external requests.

The discipline of Resistance of Materials is often offered to engineering courses, but is also taught in other courses, such as the Design one at Federal University of Santa Catarina (UFSC) - Florianopolis, Brazil, where it is applied mainly in the design products branch.

108 Senses&Sensibility’13 During the classes of resistance of materials for the graduation course in Design it was observed that it was a hard task to several students to visualize the behavior of the materials when forces were applied, for example, in a specimen. A great part of the study of resistance of materials is based on different testing machines operating with specimens.

This work proposed the creation of graphical animations that simulate the application of forces and the behavior of materials in virtual specimens. The main goal of this initiative is to facilitate and speed up the learning process by the Design students using graphic animations to illustrate the theoretical part in a more attractive way counting on the assistance of charts and diagrams i.e. making use of powerful visual resources. The animations are used in the discipline of Resistance of Materials to assist in the study of loads applied in specimens with different materials.

II. METHODOLOGY

The method used to carry out this work was developed by Bruno Munari (1981) and was chosen as it is very well accepted by the Design sector since it covers, among others, needs analysis, verification of data collected as well as available technologies. Nevertheless some adjustments were made in order to better fit the problem at hand. Therefore the methodology applied includes the description of the following topics: (1) the problem, (2) the components of the problem, (3) data collection, (4) data analysis, (5) creativity, (6) materials and technologies, (7) experimentation (8) model, (9) validation and (10) final results, which are described below:.

(1) The “problem” of this study was defined as the difficulty of the resistance of materials students to visualize the content covered in class.

(2) The “components of the problem” are: the students, the material available for the class, the course contents and the lack of adequate graphic animations.

(3) The “data collection” phase began with a desk research mainly through internet searches were no adequate materials were found to cope with the present problem (primarily videos that demonstrate physical phenomena presented in classroom).

(4) The “data analysis” phase was carried out in parallel with the data collection. Here some selected videos were studied in order to serve as reference for the process of developing new graphic animations more suitable for the current problem.

(5) The next step phase, named as “creativity” phase, served to define the objects to be

Senses&Sensibility’13 109 worked on motion graphics phase, style, the approach to the subject and the possibility to work with animated graphics.

(6) In the “materials and technologies” phase it was chosen the Autodesk 3Ds Max software to be used to develop the 3D animations. The choice of this software was due to its suitability to the envisaged problem as well as to its availability and domain of use by the students in charge of this work.

(7) After defining the software, the phase of “experimentation” began seeking to test the different approaches with the same goal. During this process aspects such as color graphics, animation speed and size of final video files were defined.

(8) After defining all the needed experimentation elements, the graphic animation of the “model” was finalized.

(9) The model was submitted for “validation” with students who had participated in the discipline. This validation phase seeks to realize the ease of understanding the content and consequently if the initial goal was reached.

(10) The “final results” consist of the graphical animations developed, tested and validated. It comprises a set of some short videos addressing the lack of visual elements in the classroom, aiding the understanding of the subject by the students.

This methodology aligns the pedagogical design process as a way of better structuring of the discipline of Resistance of Materials for Design course at UFSC.

III. PEDAGOGICAL DESIGN

According to Torrezan & Behar (2008) pedagogical design is the one that relates graphical and technical factors (ergonomic and programming) to pedagogical and learning factors.

Today many digital resources are used in the process of teaching and learning. Among these resources one can highlight videos, animations, simulations and learning objects that are often developed without thinking about the new ways of learning, occurring only the digitalization of traditional teaching methods. So these objects are built without considering the broader factors of design, and this element is merely used in a decorative manner (BEHAR et al, 2008).

So in order to build the bridge between graphical and technical factors in what concerns the discipline of resistance of materials offered to the Design students of UFSC, some animations

110 Senses&Sensibility’13 were developed by two students under the supervision of the Professor of the discipline.

IV. DEVELOPMENT OF THE ANIMATIONS

The animations were developed to support the pedagogical teaching of the main topics covered by the discipline of Resistance of Materials: (A) Bending, (B) Tension Vs Deformation and (C) Twist.

A. Bending - two types of bending were covered: simple beam (Figure 1 and 2) and cantilever beam (Figure 3 and 4). With the aid of graphic animation it is possible to demonstrate the behavior of the materials easily. The three-dimensionality feature allows you to display the beam interacting while the force is applied at its end. This visualization allows the student an overview of what happens with the beam when exposed to external loads.

Fig. 1. Steel simple beam

Senses&Sensibility’13 111 Fig. 2. Bended steel simple beam - Video Link: www.youtube.com/watch?v=I4qQVoQCbH8

Fig. 3. Cantilever steel beam

Fig. 4. Bended cantilever steel beam - Video Link: www.youtube.com/atch?v=FImicxhFHP4

112 Senses&Sensibility’13 It was verified the viability of producing animations for simulating the behavior ofthe material. The study of graphics creation has began in order to demonstrate to students what happens to the materials while undergoing an increased load.

B. Tension Vs Deformation - Presenting the deformation of a material facing certain tensions is sometimes complicated as the material changes its behavior while tension increases. Firstly the material deforms elastically, and then there is plastic deformation and the necking of the material. To display this behavior, the presentation of graphics is of great importance for the understanding. With the use of computer animation it was developed the representation of the deformation of the material while a graph of tension vs. deformation was showing the curve of the material behavior (Figure 5 and 6).

Fig. 5. Graph Tension vs Deformation of the specimen

Senses&Sensibility’13 113 Fig. 6. Graph Tension vs Deformation Video Link: www.youtube.com/atch?v=0onZCJKKtdw

C. Twist – To demonstrate the twisting of a beam (Figure 7 and 8) is usually also a challenge for the teacher in the classroom. This is especially true if the beam has a circular cross section (Figure 9 and 10) but apparently nothing happens to the beam when it is twisted. Graphic animations were developed for rectangular and circular cross section beams. For the latter it was applied a checkerboard pattern to the beam thus allowing a clearer visualization of the behavior of the beam.

Fig. 7. Steel beam (rectangular section)

114 Senses&Sensibility’13 Fig. 8. Twisted steel beam (rectangular section) Video Link: www.youtube.com/ watch?v=Gfa6qUmM9Pw

Fig. 9. Steel beam (circular section)

Senses&Sensibility’13 115 Fig. 10. Twisted steel beam (circular section) Video Link: www.youtube.com/ watch?v=d8vW1C0MrB8

IV. CONCLUSION

After some desk and internet research it seemed that there are few videos with a satisfactory resolution and quality of filming in what concerns the behaviour of materials subject to external loads. No camera variations were found or footages with super cameras. In this sense the use of computer animation is recommended since it allows playback at various angles and represents a good relation of cost/benefits.

The use of animations to represent the behavior of materials under external forces may be considered of a valuable contribution to the resistance of materials classes. Bringing this visual resource into the classroom allows the teacher to show to the students in a more interactive way how things work.

It is worth to mention that the animations produced in this work are the result of the work of students who had previously studied the discipline of Resistance of Materials. The theoretical content learned in the class was applied for the development of the animations. This means that the content was learned in class and deployed in a practical way. This work has the potential to be further developed i.e. to increase the number of videos (addressing other materials, using different sections, in different environments, etc) raising the portfolio to be presented in the discipline as well as to involve the current students of the discipline in the development itself.

116 Senses&Sensibility’13 V. REFERENCES

NASH, W. A. Resistência dos Materiais. Rio de Janeiro: McGraw-Hill, 2001.

POPOV, E. P. Resistência dos Materiais. Rio de Janeiro: Prentice Hall do Brasil, 1984

HIBBELER, R.C., Resistência dos Materiais, Terceira Edição, Livros Técnicos e Científicos Editora, Rio de Janeiro, 2000.

Ementa UFSC da disciplina EGR 7184 – Resistência dos Materiais

MUNARI, Bruno. Das coisas nascem coisas. Lisboa: Edições 70, 1981.

BEHAR, Patricia Alejandra; TORREZZAN, Cristina Alba Wildt; RÜCKERT, Augusto Bergamaschi. PEDESIGN: a construção de um objeto de aprendizagem baseado no design pedagógico. Revistas Novas tecnologias, v.6 Nº 2. Dez 2008.

TORREZZAN, Cristina Alba Wildt. BEHAR, Patricia Alejandra. Design Pedagógico de Materiais Educacionais Digitais. In: V Congresso Brasileiro de Ensino Superior a Distância, Gramado, 2008.

GAGNE, Robert M. Principles of Instructional Design. Wadsworth Publishing. 2004.

Senses&Sensibility’13 117 Sensory Design Used in Fashion Catalogs

Jessica Siewert, Msc. Mary Meürer Lima Vonni Universidade do Vale do Itajaí, Balneário Camboriú, Santa Catarina, 88337-300, Brazil

Abstract — This study aims to determine how the sensory design mainly interferes with the perception of the target audience of fashion catalogs, the main advertising method used by companies in this segment. It brings both the benchmark on the use of sensory finishes in fashion catalogs, as well as its relevance to the market, through field research with consumers and people in the business. It allows us to realize the degree of differentiation that the catalog of this nature presents to its competitors, gathering new customers and adding value to the brand, showing the brand’s concept and the collection’s concept clearly and irreverently.

Index Terms — sensory design, fashion catalog, editorial.

I. INTRODUCTION

A catalog serves to show products or services available to consumers, but should express the “essence of the brand and its positioning” [1].

As a way of targeting, it was set as theme the fashion catalogs, due to a large number of companies in the sector in the region of Vale do Itajaí, in Santa Catarina, showing high potential market for this type of print.

The research problem is to identify how the sensory design applied in fashion catalogues influences the consumer and the brand’s vision. Identified hypotheses that the application of sensory resources adds value to, draws attention and makes the concept more evident, which tends to establish the brand in consumer’s memory.

The research of this article aims to look at the importance of design in the sensory perception of the brand and the concept of collection by the female audience in printed fashion catalogues, and understand how this type of appeal may offer an important competitive advantage in today’s market. Being necessary to assimilate the perception of consumers about the sensory applications and their relevance for professionals involved with the production and distribution of catalogues.

118 Senses&Sensibility’13 For this will be used to research methodology presented by Lakatos and Marconi [2] in order to build a theoretical framework on the subject.

II. METHODOLOGY

The data collection stage is divided into two: indirect and direct documentation. The first serves as a theoretical foundation for the project, with reading, analysis and interpretation of books and documents, and the second comprises the field research, which was made using the following methods: focus groups and interviews.

A focus group is an interview conducted by a moderator, so unstructured and natural, with a small group of respondents (6 to 10 peoples), aiming to get a thorough vision of the theme, generating more information, insights and ideas spontaneously [3]. In this case it was made a pre-selection of volunteers with the right profile, according to the target consumers of the research with the author’s knowledge of research on people, confirmed with a small questionnaire. The focus group had the duration of one hour and was recorded for transcription and subsequent analysis.

After this step, there were two interviews, one with a shopkeeper of a brand in order to understand the importance of the catalogue for the store, and then with a stylist noticing how he intends to pass the concept through the catalog and what a sensory application could influence in this mission.

III. DEVELOPMENT

A. THE CATALOG AS TACTICAL ELEMENT FOR FASHION

The fashion sets free the expression of the human being and is thus defined as “everything that is, everything that represents spirit to spirit, is hardly about clothes, a Dress or Costume, dressed for a season, and to be set aside” [4].

Communication is essential to fashion products, being necessary to explore the concept of advertising projects, assisting in dissemination and differentiation in the market [5].

Need created in the 18th century when the first fashion publications in France, aimed at customers extremely elegant. The modern magazines and publications were multiplying and linking to the economy from the 19th and 20th centuries [6].

Senses&Sensibility’13 119 The first catalog of fashion or photographic book sets appeared in 1856 when thevain Countess of Castiglione commissioned photographers Mayer and Pierson, an album with two hundred and eighty eight models of clothes they liked, and then have bought”[6].

The catalog is a material intended to illustrate the products or services that a company makes available to its customers [7]. For the fashion market, a catalog encompasses more than that.

A catalog of fashion is used to present the composition trends, shapes and colors that mark a given year or season, being an advertising piece that serves to launch, publicize, awakening desires and eye-catching [8], and may be conveyed in print media, digital or interactive.

Often a catalog presents a much stronger appeal in relation to the ideology of the brand than windows or ads in magazines, showing so much importance to the dissemination of a collection as the big parades (São Paulo Fashion Week, Fashion Rio and other major international parades).

There is thus a challenge for who produces catalogs: “be better, more original, persuasive and trusted” [9] that its competitors. Create a magical atmosphere is indispensable, because not only are the exposed clothes that communicate, the models and the atmosphere created around should stir up and love the beholder [10].

To achieve the desired effect, this media can use a medium in increasing exploration in design, the use of sensory resources.

B. THE EDITORIAL DESIGN AND THE USE OF SENSORY RESOURCES

Graphic design has three main functions: to identify; inform and instruct; present and promote (where the goal is to hold the attention and make an unforgettable message) [11].

The editorial design is a specialization of graphic design, where design books, magazines, newspapers, and other print and digital [12]. The catalog sets fit in this area of design.

As the catalogs are a vehicle, the extra resources used to express the degree of competence of the brand, selling for you and being perceived as exciting and creative [9].

Graphic design uses mostly visual resources, but to communicate it may be necessary to stimulate the other human senses, because to appeal to several senses, the message will have more chances to break obstacles [13].

120 Senses&Sensibility’13 C. THE POWER OF VISION IN PERCEPTION OF A MESSAGE

The vision is the most powerful and seductive, where each image is compared with previous memories and experiences [14].

Much of what is known about the human visual perception comes from Gestalt psychology, based on the breakdown of a visual work, where each part can be seen separately and entirely independent and then reunited with the whole [15].1 According to the author, the Visual elements are the basic substance of what one sees, and combined form existing visual information, they are: point, line, shape, direction, tone, color, texture, size, scale and movement.

The color is a crucial vehicle in the exploration and understanding of the world, because it activates the thoughts, memory, and perception. Their physiological quality is reinforced by cultural associations, and may transmit information and moods [16].

The form is capable of causing sensations and effects on consumers. The main dimensions are caused by the angularity, size, symmetry and proportion, where its construction and manipulation can cause a stunning impact on the perception of people, being a powerful aesthetic strategy [17].

D. THE USE OF HEARING TO CAPTIVATE CONSUMERS

From birth, babies perceive and understand the world with the help of hearing, attaching to each sound a different meaning [14]. The songs serve as a source of inspiration, and can relax or rush people, as well as cheer them or grieve them [17].

A not-so-obvious ways to use sound in print, but without losing efficiency, is to include playlists and artists or snippets of songs, which when read, can instill the memory of melody, influencing quickly and witty the reader.

The use of graphic materials, such as certain papers, can cause a sound to be handled by generating a differential effect and easy to be used, without need of more complex sound devices.

1 Gestalt: German psychology which was consolidated throughout the 19th century.

Senses&Sensibility’13 121 E. THE TOUCH AS AN ALLY IN THE PERCEPTION OF A CONCEPT

A form is defined as an object with size and shape, and by its nature already provides a tactile experience [1], until the weight influences to the touch of the individual, and we see a printed heavy as synonymous with quality [14].

The tactile sense is the most immediate, and allows us to engage and hold the world, use it in a sensory experience can be simple and economical, but of extreme efficiency [16].

The use of textures involves tactile, thermal and optical qualities, cultural and symbolic values. There are a variety of materials and techniques that involve the sense of touch reaching the desired results by tags.

G. THE POWER OF MEMORIZATION BY OLFACTORY SENSE

The smell is the most primitive sense, basic and straightforward, influencing the mood State, and even then, it is felt that most underestimates [13].

In addition to activating the memory, the aromas lead to physiological reactions, like salivation (hunger), sexual stimulation, fear, euphoria, among others [18], being a considerable stimulus for communication pieces, because almost everything can be flavored.

Aromas can be according to the effect that if you want to cause [17]. It is important to note that “odors that come together for children have greater emotional strength” [16], being more relevant to advertising.

F. THE PERCEPTION THROUGH THE PALATE

The taste is often considered the Supreme experience of an individual, being reflected in common expressions such as sweet, sour and a matter of taste [14]

Several products can evoke sensory associations of pleasure by the taste, and can be used metaphors to communicate [17]. An intense smell serves as an alternative to emphasize the taste, since the smell and taste are closely linked.

Even products not necessarily related to the palate can be associated to sensorially through campaigns and held [16], and may be used in print, with strips that have flavor that can be swallowed, the “Peel ‘n Taste strips” [14].

122 Senses&Sensibility’13 IV. ANALYSIS AND DISCUSSION OF THE RESEARCH

A. FOCUS GROUP

The focus group was held with seven women, 20 to 25 years who like fashion and their editorials, among them students of, business, letters, fashion design, industrial design and graphic design, as well as medical professionals and photography, selected according to the procedure stated in the methodology.

Various types of books were presented and various brands. Notice the taste of consumers for fashion catalogues, for various reasons, both to realize the concept of collection as to see a piece and its use.

None of them receives catalogs at home, and realize the lack of interest of both brands such as in relation to public catalogs. Believe in the importance of the catalogue to publicize a collection and would like to have easier access to catalogs, because it instigates to go to the store and see the clothes in person.

All like to perceive the style by setting the type of clothing it sells and so can get a sense of that find and search in particular brand. Magazine type catalogs don’t call as much attention for bringing little concept, because most of the time do not want to read the content but rather see the photos.

The participants considered bad catalogs too large or too small, both because of the difficulty of handling as by difficulty.

Graphic materials were presented with different finishes and use of sensory resources to realize the effect on the participants. Not all of the material were fashion catalogs, as there are only a few samples that use this resource, showing a shortage in the market.

Regarding the use of flavourings, believe should be moderate, because very strong smells can become overwhelming. Already have good experiences with the use of flavourings in commercials, and most believed to be one of the most remarkable senses and connect to the palate, arousing desire to consume some foods confirming Gobé theory [16].

Among the essences presented the ones selected in unanimity was the one of clothes softener, because it awakens good memories, the comfort, home and childhood. Thenthe smell of peach and sunscreen aroused interest of participants by evoking summer. As for its

Senses&Sensibility’13 123 application in catalogs, believe an aroma well selected, related to the style, the concept of collection or of the trade mark may be an interesting differential.

The participants worshiped most textures, however, as well as flavourings should be used with moderation and caution. The majority opined that does not wish there was texture on top of the photo of an outfit and that tissue samples are very technical for a conceptual material. The application of resources should not hinder the presentation of the play or draw more attention to it.

For the interviewed, the use of sound can be a little uncomfortable in a catalog, because they prefer to decide what they want to hear, feel, smell or touch, and for this, the sound technology would become more expensive. On the playlists submitted in one of the catalogs, half of the participants stated that they would interest in search to know or hear the songs.

As for the visual sense, graphic parts with transparencies, 3D feel and hot stamping captivated the participants. The paper also sparked interest, with thicker papers, special and were regarded as of higher quality.

The participants looked more calmly and attention catalogs which had one of these sensory applications, interacting more with the brand, confirming that in this way achieved a memorable contact, establishing the consumer’s preference [16].

In the end, they concluded that these features are very interesting if used sensibly, without exaggeration and compatible to the concept of the brand.

B. INTERVIEW WITH RETAILER

The interview was carried out with the manager of the Naguchi store in Balneário Camboriú (local brand that dedicates special attention to their catalogs), who worked for two years in the company. He says that people often look the catalog in the store, and often ask for it, because the public are consumers and cherish the concept. The more modern, conceptual, more interest it will spark on the consumers.

In Exchange for the collection, a catalog can influence of 30% to 40% on a sale, because the sellers have the catalog to a client in order to show the applied parts, and not just in the racks.

From this interview, one can observe the target audience of brand preference for differentiated and catalogs that show the concept of the collection, generating demand for

124 Senses&Sensibility’13 application of sensory resources to strengthen a concept and produce the senses.

C. INTERVIEW WITH A FASHION DESIGNER

Was held an interview through questions submitted by email to the stylist Antonio designer from the brand Antonio Bizarro, because this was the brand that provided greater ease of contact. For him, the catalog serves as formalized presentation of the material, being the most practical access door to gain new customers and provide parts to potential buyers.

Antonio believes that not having the catalog, whether physical or virtual, is a serious flaw of the company’s communication with consumers and with the market. Your brand makes two types of material, a conceptual and a sale. By size of company, micro, Antônio follows all the steps of the production process of your brand’s book, since the photo shoot up diagramming and pilot approval.

Antonio believes that present sensory elements in a catalog would be a commercial, differential and a material which stimulates the feel and the smell can generate the element of exclusivity that a search client, but must be balanced with the cost of production, as passengers are catalogs and last only one season (6 months).

From the interview, realizes the value of a catalog for a company and that the use of sensory resources can have good effects in catalogs of selected brands, because it makes the consumer feel special care with materials dedicated to it.

V. CONCLUSION

From this study, it is apparent the importance of a catalog for a brand, because this vehicle is ideal for delighting customers and add brand credibility, for the investment in the production of a catalogue of elaborate fashion, bringing good benefits to entrepreneurs and designers.

The use of sensory resources in catalogs can be very effective to touch the emotion of the people, leaving the mark on memories more easily compared to catalogs that explore just visuals, which have become dull and without differential, not demanding public attention, which quickly filters the information.

The use of texture and odors are most suitable for this kind of appeal, either by the production, because it would be difficult to run a catalog with sound that has good quality and finish, and the fact that the use of other senses it may not fit in (ex: palate).

Senses&Sensibility’13 125 To create sensory catalogs it is important to analyze the concept of collection and the emotion to be passed, because the message will only be fixed in the memory of the consumer if the proposal is aligned and concise.

REFERENCES

[1] T. Samara. “Guia de Design Editorial: Manual prático para o Design de Publicações,” Tradução: Mariana Bandarra. Porto Alegre: Bookman, 2011.

[2] E. M. Lakatos, M. de A. Marconi, “Metodologia Científica,” 2.ed. São Paulo: Atla, 1992.

[3] N. K. Malhotra, “Pesquisa de Marketing: uma orientação aplicada,” 4. ed. São Paulo: Prentice Hall, 2006.

[4] L. Svendsen, “Moda: uma filosofia,” Tradução: Maria Luiza X. de A. Borges. Rio de Janeiro: Zahar, 2010.

[5] M. Cobra, “Marketing & Moda,” São Paulo: SENAC, 2007.

[6] C. de S. D. da. Cunha, “Espelhos de Papel: Representações de uma Sociedade em Catálogos de Moda,” Florianópolis: UDESC, 2005.

[7] R. Blessa, “Merchandising no ponto-de-venda,” São Paulo: Atlas, 2005.

[8] F. C. Uggioni, “A Edição de Imagem como Aliada em Catálogos de Moda,” Criciúma: UNESC, 2009.

[9] B. Stone, “Marketing direto,” Sao Paulo: Nobel, 1992.

[10] E. B. dos. Santos, “Representações do Catálogo de Moda na Sociedade e Sua Interferência sob o Público-Alvo Mulher” In: II Encontro Nacional de Estudos da Imagem. Londrina, 2009.

[11] R. Hollis, “Design Gráfico: uma historia concisa,” Tradução: Carlos Daudt. São Paulo: Martins Fontes, 2000.

[12] ADG. “O VALOR do Design: guia ADG Brasil de prática profissional do designer gráfico,” São Paulo:SENAC, 2003.

[13] M. Lindstrom, “Brandsense: a marca multissensorial,” Porto Alegre: Bookman, 2007.

[14] B. Hultén, N. Broweus, M. Van Dijk, “Sensory Marketing,” Basingstoke: Palgrave Macmillan, 2009.

[15] D. A. Dondis, “Sintaxe da Linguagem Visual,” 2. ed. São Paulo: Martins Fontes, 1997.

126 Senses&Sensibility’13 [16] M. Gobé, “A emoção das marcas: conectando marcas as pessoas,” Rio de Janeiro: Campus, 2002.

[17] C. Perez, “Signos da marca: expressividade e sensorialidade,” São Paulo: Pioneira Thomson, 2004.

[18] A. Adami, B. Heller, H. Cardoso, “Mídia, cultura, comunicação,” Volume 2. São Paulo: Arte & Ciência, 2003.

Senses&Sensibility’13 127 A Innovation Model of Visual Management for Projects Applied to the Design Practice

Julio Monteiro Teixeira, Eugenio Andrés Díaz Merino, and Giselle Schmidt A. Díaz Merino Universidade Federal de Santa Catarina, Florianópolis, SC, 88040-900, Brazil

Abstract — The paper proposes a Model of Visual Management for Projects, that can help the design practice. Regarding the methodological procedures there was a literature review conducted and applied as a case study. As a result, the study presents the application of the Model of Visual Management of Projects, the project experiences obtained during the development projects. The qualitative and quantitative data on the perceptions of students about the process experienced are also presented.

Index Terms — Innovation, Project Development, Visual Model, Methodology, Design Management.

I. INTRODUCTION

The development of projects tends to distinguish the product and make it more competitive, besides, providing the company, the chance of modifying, improving and getting a better place, towards competition.

Designers, engineers, managers, entrepreneurs, researchers and other stakeholders involved in product development need to innovate, create and consider different profiles on their proposals, products and results. The design practice can be one of the ways for this process. Having all this in mind, how can it be possible, stimulating graduation students, to attend the necessary requisites in a participatory way during the project?

The human race enjoys interacting and permitting other people to get acquainted with the information, which is a direct way for greater participation [1]. Some teams can become more efficient and effective when they can visualize the issue by interacting, comparing the data, finding the patterns and mapping the ideas, since these attitude help people to think in a global way. [1, 2, 3].

However, development processes, which involves different stages and factors are,

128 Senses&Sensibility’13 generally, hard to be comprehended and visualized, since they are made by different people, each of them, sometimes, producing results that can be used in subsequent steps. Thus, the complexity can increase in proportion to the size, complexity and specificity [3,4].

Based on that, it emerges the possibility of applying an innovative project management that facilitates the monitoring and interaction of the processes.

Thus, it turns relevant, the application of project management models with the goal of amplifying the visualization, documentation and control, as well as, the participation and interaction during the project practice, performed with design students.

II. THE METHODOLOGICAL PROCEDURES

It was conducted a literature review and applied as a case study. The procedures can be dividing in two steps: Base framework; and Applying the Model (Fig. 1).

Fig. 1. Overview of the methodological procedures

A literature review was made as the main theoretical basis: Visual Management, Product Development, Lean and Usability which resulted on a principle indication for the Model of Visual Management for Projects.

This way, an exploratory research was performed for the knowledge of the state of art, through a bibliographical research. The exploratory nature of the work is justified through this approach, as the researcher is provided with several knowledge about the researched topic,

Senses&Sensibility’13 129 having the goal of getting more familiar with the problem, in order to make it more explicit or constructing more hypothesis [5].

At first, a systematic search was performed on a SCIENCEDIRECT® database beginning with the Visual Management term. Initially, 175 publications were found. However, only the following were considered: the last five years of publication (2008-2012); Visual Management; and researches linked to projects and processes. The following image (Fig. 2) highlights the process of selection.

Fig. 2. Research filter

As some articles and books were researched, the procedure may also be characterized as a systematic theoretical analysis, due to the fact that, it had the aim of identifying the studies on the products development area, visual management and usability. For this, it was done a sorting of national and international books, related to the Visual Management, applied to processes and projects, that can lead to some ways for applying this model management concerning the product development.

The Visual Management for Projects Model was applied in an undergraduate course called: Project 15 (Code: GR7176 - Class 04 454) that was offered during the second semester of 2012 for

130 Senses&Sensibility’13 the students of Design and Communication Centre expression of UFSC. The course was taught by 03 teachers and supported by post-graduation students.

It is important to highlight that the research procedures were authorized by National Committee of Ethics in Research (CONEP), through the Brazil platform, which has evaluated and approved by the National Committee of Ethics in Research (CONEP), with human being in the Federal University of Santa Catarina, under opinion approval.

III. CONSTRUCTION OF THE BASIS OF STUDY

As a support, the Visual Management on the projects ´development was proposed and a reference model was applied, in order to guide and develop the project activities.

As a reference model, the Guidelines for Project Development - GODP), since, besides its compounded proponents, and its recognition as a scientific model (footnote) (inspiration, ideation and implementation), stages and substeps, the use of the chromatic variation for helping the visual orientation and the use of chromatic variation to assist in visual guidance of steps, and the cyclical development (Fig. 3).

Fig. 3. Reference Model - GODP

The aim of the guide proposed on the following research is to organize and provide a sequence of activities allowing the design to be performed in a flexible and conscious way, besides, taking into account, and the quantity.

Senses&Sensibility’13 131 Fig. 4. Tools developed to Visual Management for Projects.

This proposal also suggests that boxes for each key stage of the project development process, guidance, output sheets and visual displays for monitoring the processes and support are installed. The following image (Fig. 4) shows the main set of tools that support the Visual Management Model Project.

The previous figure has the intention of clarifying the Visual Panel, Boxes, Sheets and Project Folders, as well as promoting increased visualization of information, and as Sheets, Project Folders and Digital Archive generate additional documentation for the process. In addition to this, the visual representation on the basis of the image indicates that the level of detail of the tool tends to increase in inverse proportion to the information synthesis provided by the tool. However, this set of tools helps the user, the draftsman, the manager and others, to find information about the detail/conclusion) they need.

Communication and discussions about the visual models become more useful when they can be easily manipulated. In addition, experienced facilitators, full of important resources, which are vital to the use of visualization techniques, can achieve greater contribution [6].

The concept called: “Coffee room culture and visual management” aims to promote and support a continuous learning culture of open discussion during projects creation through a Visual Management culture. This concept suggests that the environments may have a relaxing atmosphere for projects ´creation. More importantly, this room is equipped with tools and materials to share visual information [7]. The following design environment has

132 Senses&Sensibility’13 been developed according to this proposal. This space (Fig. 5) was used by designers during the case study.

Fig. 5. Project room – with visual tools

IV - RESULTS

A. CASE STUDY – SCENERY DESCRIPTION

After structuring and implementation as a pilot in internal projects, the proposed model was applied as a case study.

The case study was initiated at the Federal University of Santa Catarina - UFSC degree in a undergraduate discipline. The discipline had workload of 74h / 04 credits distributed in the week. The program of studies had the following description: “Product design oriented by design methodology centered on the user”.

The schedule of activities was divided into two great moments, linked to the project cycle and named: Project 1 (P1) and Project 2 (P2). The P1 was performed at the beginning of the discipline and its percentage was 30% compared to the composition of the final grade. Since the project P2 had a more advanced level, the percentage was 60% of the final grade. Individual participation completed the 10% missing for the composition of the final grade.

The P1 had as its theme, the development of artifacts for domestic focused on food preparation. P2 already occurred through a public-private partnership with the company that

Senses&Sensibility’13 133 works in the area of Telecommunications, Networking and Security Electronics on the Greater Florianópolis region. For the P1 five weeks were used of development and for the P2, ten weeks.

The P1 had as its theme the development of artifacts for domestic directed to food preparation. P2 already occurred through a public-private partnership with the company that operates in the area of Telecommunications, Networking and Security Electronics in Greater Florianópolis. P1 were provided to five weeks of development and P2 ten weeks.

It is worth mentioning here that due to size limitations, this article will be presented as a case study only the application of Project 1 (P1).

B. CASE PRESENTATION AND APPLICATION MODEL

After the initial presentation of the systematic development of projects of the quarter, a “toolkit” was delivered for each project team (students were divided into three or four teams of two students each). The “kit” included: a project folder (for collection materials development process), a visual timeline (for organization of activities, Sheets guidance and output, and a print 841mm x 1189mm (A0) with the visual dashboard.

In addition, a support material was available in an online platform, which was managed by teachers and assistants. The material provided included: Sheets guidance and output GODP; support tools in general (detailing, panels, model schedules etc..), Supplementary material, document templates and the lesson plan of the discipline.

During the first stage of immersion time, it was not clear to the students how to use and the purpose of the utensils, so they could observe the level of intuitiveness of the product. As a result, the students used the products in the preparation and handling of food and were encouraged to sanitize them later. This dynamic urged students to realize the project opportunities , GODP´s first step (Step 1).

After this immersion and the initial explanation, mentioned above (about discipline, GODP and tools), the teams and the project topics were defined and presented. Then, students have structured an initial schedule (with the use of the visual schedule model) and conducted a preliminary survey (Steps -1, 0 and 1).

The guidance sheets were used to support students in the clarification of the development of each step, stating what it is, how to do, and the purpose of each activity. Besides, performing theses activities, the team members also shared the management of deliveries. Such

134 Senses&Sensibility’13 management actions were induced by delivery sheets, which required the team planning, organization and description of each step of the activities, also with the indication of the responsible member in charge of completing the form.

For students to understand the importance of using the model and obtain greater ease on the development and transition stages between macro-phases, lectures and complementary activities were offered to students by teachers and assistants.

In the creation step (Step 3) teams had the opportunity to present their product design alternatives for household cooking utensils (visual and verbal) and received feedback from teachers and assistants on how could they explore the alternatives.

After the development of alternatives, the execution and enabling steps were initiated (Steps 4 and 5). The teams presented the results of P1 through discussions, slides and digital and physical models. The project folders, digital files and physical models were with the team of teachers and assistants for further evaluation.

Assessments of P1 were performed collectively, i.e., with the participation of all teachers and assistants. Students feedback on evaluations of the projects was given by sheets containing grades, charts and comments.

After the closure of Project 1 (P1) the teams were asked to measure and present, in a visual way, the use and distribution of time in relation to the steps and sub-steps (in real time and in percentage), so they could consider time dispensed on the development of projects, when setting the schedule for P2. For that, they used the delivery sheets with the date of beginning and conclusion.

VII. CONCLUSION

From this, it is believed that, by applying this set of actions, the understanding and visualization can become clearer, and thus, facilitate the information management process of project development. Finally, it is believed that the joint actions of the Visual Management for Project, added to the proposed mechanisms can facilitate the integration and flow of information between design steps.

Thus, The Model of Visual Management for Projects brings new possibilities to create information flow, mainly through presentations, visual mechanisms and (memories /chips). This suggests that, visual communication can transcend the development models of current

Senses&Sensibility’13 135 projects (especially guided by reference models, guidelines, reports and analyzis). Thus, it is believed that the model can facilitate the development of projects, as it promotes the integration and information flow by using the sense of sight the driver axis of the process.

REFERENCES

[1] SIBBET, D. Reuniões Visuais: Como Gráficos, Lembretes Autoadesivos e Mapeamento de Ideias Podem Transformar a Produtividade de um Grupo. Rio de Janeiro: Alta Books, 2013.

[2] MEREDITH, J. R.; MANTEL, S.J. Project management. 6. ed. New York: Wiley, 2006.

[3] AMARAL, D. et al. Gestão de Desenvolvimento de Produtos: Uma referência para a melhoria do processo. São Paulo: Saraiva, 2010. 542 p.

[4] BROWNING, T. R. The Many Views of a Process: Toward a Process Architecture Framework for Product Development Processes. Systems Engineering, v. 12, n. 1, p.69-90, 2009.

[5] GIL, A. C. Como elaborar projetos de pesquisa. 4. ed. São Paulo: Atlas. 2001.

[6] EPPLER, M.; PLATTS, K. Visual Strategizing: The Systematic Use of Visualization in the Strategic-Planning Process. Long Range Planning, [s.l], v. 42, n. 1, p.42-74, 19 jan. 2009. Trimestral. Disponível em: . Acesso em: 15 maio. 2013.

[7] SUIKKI, R.; TROMSTEDT, R.; HAAPASALO, H. Project management competence development framework in turbulent business environment. Technovation, [s.l], v. 26, n. 5-6, p.723-738, maio 2006. Bimestral. Disponível em: . Acesso em: 28 maio. 2013.

136 Senses&Sensibility’13 When I Pop the Top: The Sensibility of Things

Keith Russell Design, Communication and IT, University of Newcastle, Australia

Abstract — Objects that rehearse and sustain our self-understandings often have extra sensory effects that become available as identity affects: we become the one experiencing the fizz and the coldness and the wetness of our can of Coke. The drink container seemingly gives, of itself, to me: I become the recipient of its designable excess meanings. There is more than enough in this subject-object moment, so much so that I can anticipate the pleasures of my engagement with the opening of my can separately to my actual drinking of the Coke. I am caught up in a drive, a repeatable pattern of sensory confirmations that is about both my ability to sense and my ability to inhabit my senses as a sensibility. I can make this happen. I can consecrate and re- consecrate this identity as often as I wish to drink.

Index Terms — Affects, dramaturgy, Actor Network Theory.

I. INTRODUCTION

When I pop the top on my can of Coke, there is a fizz and a click and a confirming articulation of the tab. I feel the coldness of the aluminium and the wetness of condensation. My senses are aroused and my sensibility is confirmed. I am now bonded as the one about to drink Coke.

Drinking Coke, for many people, is a ceremony, a dramatic moment in daily life. Such everyday ceremonies provide us with comforting recognitions of our presence and our stability. In drinking the Coke, I understand myself as the one drinking Coke. Within this regular drama I rehearse my day. But what of the fizz? What of the excess sensory experiences?

Objects that rehearse and sustain our self-understandings often have these extra sensory effects that then become available as identity affects: we become the one experiencing the fizz and the coldness and the wetness. The can of Coke seemingly gives, of itself, to me: I become the recipient of its designable excess meanings. There is more than enough in this subject-object moment, so much so that I can anticipate the pleasures of my engagement with the opening of my can of Coke separately to my actual drinking of the Coke. I am caught

Senses&Sensibility’13 137 up in a drive, a repeatable pattern of sensory confirmations that is about both my ability to sense and my ability to inhabit my senses as a sensibility. I can make this happen. I can consecrate and re-consecrate this identity as often as I wish to drink.

II. DESIGNING FOR SENSIBILITY

Designing for such identity affects is an extension of the more general concept of designing for experiences. We know the world, in the terms of the English poet, William Blake, through our senses five. This is a given of design. The extensions being explored here, take ordinary every- day objects from just being things that will necessarily be sensed, to objects as special things open to the cultivation of sensibility.

Looking at larger designed things in our everyday worlds, we can see how objects can accumulate and contain identity both as memory and as reinforcement of our need for meaningful relationships with objects. The French philosopher Gaston Bachelard, in looking at wardrobes, offers an insight into our poetic relationship with things:

“With the theme of drawers, chests, locks and wardrobes, we shall resume contact with the unfathomable store of daydreams of intimacy. Wardrobes with their shelves, desks with their drawers, and chest with their false bottoms are veritable organs of the secret psychological life. Indeed, without these “objects” and a few others in equally high favor, our intimate life would lack a model of intimacy. They are hybrid objects, subject objects. Like us, through us and for us, they have a quality of intimacy” [1].

Our “secret psychological life” is not that secret after all. That is, designers as well as philosophers can become aware of the extra sensory aspects of things that are available for the experience of identity and intimacy through contact with everyday hybrid objects. Drawers are not merely drawers; they are the potential containers of memory.

When we move from the micro level of wardrobes and drawers to the macro level of a cinematic presentation of a city, we can see how potentially irritating the Bachelard approach to our relations with things can become. That is, the very French-ness of Bachelard’s account can leave many non-French people feeling overwhelmed with the “secret psychological life” of things. For many people, objects should stay as anerotic thing; things that merely function as things; things that serve as the backdrop to our lives.

Talking about his film, Amélie, director Jean-Pierre Jeunet commented: “we cleared the

138 Senses&Sensibility’13 streets of all the cars, cleaned the graffiti off the walls, replaced posters with more colorful ones, etc. Let’s just say I tried to exert as much control as I could upon the city’s aesthetic quality” [2].

Paris cleaned of cars was too much for many viewers who complained at the lack of a larger social purpose and visual representation of Parisian minority groups. These viewers found the whole to be a discomforting “confection”:

“Watching ‘Amélie’ is like taking a sticky shower in honey. No, wait: ‘Amélie’ is like a never- ending bowl of filling comfort food. It’s like a nougat enema. Like drowning in a lake filled with Grand Manier. Like EuroDisney after a full frontal lobotomy.” [3]

While the complaint here might sound like a resistance to the artificial nature of the world presented in the film, the real focus is on the reluctance of some viewers to treat the world of the film as a subject object, as a hybrid object, as an identity in its own right. For these reluctant viewers, the world of things is a social and cultural and historical reality that needs to stay at a distance. For these viewers, objects need to be in their appropriate places for fear that objects will take on the kinds of identity relationships as subject objects that Bachelard proclaims as key to our understanding of our being with things. For viewers who enjoy the film, the world of Paris presented is a representation of how they find things in the world; the film confirms their erotic and imaginary connection with things.

The poetic way that Amélie (the hero of the film) looks at things can suggestively extend our understandings of how we might experience things and how we might design things to be experienced.

III. TOWARDS A DRAMATURGY OF THINGS

There is a dramaturgy open to design that can allow designers to pre-shape the story of the subject-object drama by exhaustively exploring the context possibilities of the subject-object drama. This allows that in approaching an object, the person about to experience the object, as a subject-object relation, is able to fulfill a role, as would an actor in a play: here is the spot to stand on; here is the prop to take hold of; these are the gestures to make.

I know something of the drama of my can of Coke. When I pull back the tab on my can of Coke, I am initiating the drama. This action has been designed for me. This action is my way of entering the drama as the one about to receive the experience of what Coca Cola often calls “the real thing”. For the engineer, the tab is merely a functional feature of the can. It is there to allow

Senses&Sensibility’13 139 me to get to the drink. In the mind of the engineer the tab is inert; it needs to be acted on by a user. For the engineer there is no drama, there is merely the function of opening a can.

From the perspective of dramaturgy, the tab becomes an actor, just as I become an actor. We are involved in an inter-action. If the tab refuses to play its part in the drama, I become very annoyed. This kind of annoyance happen frequently with many cardboard milk containers that have screw top lids that reveal protective tabs that have to be pulled. In attempting to pull these tabs, people with large fingers often find it difficult to gain purchase on the cold tab.

To aggravate the matter, the tabs are not fixed in their angle such that each time a tab needs to be pulled it may need to be pulled from a different angle. Not all angles are equally as open to being pulled. Indeed, the best way of engaging with the tab is to pull it across itself rather than away from itself. This drama is far from a happy one. A potentially neurotic user, in attempting to gain access to their morning milk, is faced with what can seem like a nasty plot; a plot, written in ignorance by a designer that predicts that the user will be the foolish one who has problems. Such is the failed drama.

In the “normal” anerotic world of designing things, there is some evidence of the dramaturgical possibilities of design. The account of door handle design, given by W. O. Geberzahn in a 2001 interview with Jürgen W. Braun, is instructive:

“One day we were sitting in Johannes Potente’s old studio - it must have been June 1985 - and Aicher asked: ‘What makes the products of Johannes Potente different from other door

handles?’ We all looked at one another. Somebody said: ‘They feel good in the hand.’ We started to describe what ‘feeling good in the hand’ might be. I said something like, ‘the thumb finds its stop, the index finger its indentation, the roundness, the volume...’ and after quarter of an hour we had defined the four laws of grip. Otl Aicher wrote them down immediately: 1. thumb stop, 2. index finger indentation, 3. roundness, 4. grip volume - and did a drawing to go with them. That led to a poster. Although here in the company, people were initially embarrassed.” [4]

The sense of being embarrassed is revealing. While the designers were eager to explore the secret life of their door handles. They were less eager to embrace this secret life as a drama that they had formally structured as a stage for the sensory experiences of users. We can feel what a thumb stop is just as we can feel when a thumb stop is missing on a door handle. To have a thumb stop experience is to feel part of the drama of enacting the ceremony of opening

140 Senses&Sensibility’13 or closing a door. These designers of door handles, when asked, could offer a dramaturgy of their designs in such aesthetic terms as “index finger indentation”, “roundness” and “grip volume”. To take but one of these dramatic categories, “roundness”, we can readily apprehend the sensuous and erotic possibilities of “roundness” without too much imagination. That is, the dramatic aspects are blatantly obviously if also equally disguised in such language as “the four laws of grip”.

Having been embarrassed, the designers quickly retreat to a more usual account of what they do:

“First of all every product has to function. In this respect we are good functionalists. But symbolism and aesthetics are equally important. Not to mention the material. There is a time for plastic, for aluminium, for stainless steel. It is wrong to ignore the symbolism of the materials. Nor can aesthetics be entirely separated from the zeitgeist. So what I would say to a young designer is this: take a material that is in line with the times, design a functioning product and rely on your own taste, which should differ distinctly from that of your grandfather.” [4]

For Geberzahn, object function, not subject drama, is the key; the nature of the material thing and its symbolic value, not subjective sensory apprehension is the substantial aspect of the exchange; and, designer-taste, not user-association is the final guide. The drama has been subsumed and yet, what action is more inherently dramatic than the opening or closing of a door?

IV. ACTOR NETWORK THEORY

Opening a door, or pulling back the tab on a can of Coke, these are more than merely intermediary actions. In Bruno Latour’s terms, these actions, in themself, amount to “mediations”. For Latour, the term “mediation” indicates the “many entanglements of practice” and “a mediation always exceeds its conditions” [4]. This excess of meaning provides the opportunities for designers to explore the sensibilities of those who use the objects that designers design. That is, the kinds of mediations that designers allow for, in their objects, become the possibilities of users to participate in the dramas of objects.

Door handles are obviously functional in ways that allow us to avoid the drama or the “many entanglements” in our rush to simply use the door handle to open or close a door. That is, we blank out much of our sensory engagements with the world of designed things in our

Senses&Sensibility’13 141 urgency to use the world of designed things. The door on my Mercedes Benz (if I were lucky enough to have one) would close securely every time. It would conform to the rules of functional car design. It would exceed safety requirements. It would confirm, each time, that I am secured in my identity as the proud owner of a Mercedes Benz. But the sound? What do I do with the sound? Like the fizz from my can of Coke, the sound is excess sensory information that remains open to aesthetic appropriation. The sound is the reminder of Latour’s “many entanglements.

We can see these entanglements more clearly when we approach objects that are less immediately subsumed in their functions. We can clearly see and participate, without embarrassment, with the erotic drama of what has become called (thanks to the Internet) unboxing. For a case study about unboxing and the design of boxes to be part of unboxing, we can look to Apple. Here is an account by Adam Lashinsky, of what goes on inside the secret world of Apple’s packaging design room:

“The packaging room [at Apple] is so secure that those with access to it need to badge in and out. . . . Inside the covert lab were hundreds of iPod box prototypes. . . . One after another, the designer created and tested an endless series of arrows, colors, and tapes for a tiny tab designed to show the consumer where to pull back the invisible, full-bleed sticker adhered to the top of the clear iPod box.” [5]

Pulling the sticker on my Apple iPod package is like pulling the tab on my can of Coke except that in the case of my Apple iPod-moment of unboxing, I am prepared, as a special member of the drama, for the moment of revelation. This package was designed precisely for me to pull this tab, in this way, to achieve a predicted moment of reveal.

Unboxing, as an Internet phenomenon, where people post movies of their unboxing of products on YouTube, has been compared with strip tease. Viewers, who may or may not own their own iPod, can watch others unboxing their iPods in a vicarious celebration of the drama of unboxing.

While these uses may seem to be an extreme if not perverted use of unboxing, nonetheless they offer a clear indication that given the right packaging design and given the right contents to be revealed, people will engage in the drama that has been knowingly created (in the case of Apple) or is just available (in the case of merely functionally designed packaging). We may wish to limit this unboxing experience to certain precise moments of aesthetic carnival so that we can retain our sense that door handles such function and not be played with. We may

142 Senses&Sensibility’13 wish to get excited as we unwrap and unbox our birthday iPad. But, as designers, we need to accommodate the dramatic possibilities of the things we design as if the users of our designers were themselves open to the aesthetic carnival of things. That is, we need to allow that users of our designers, might be children and or they might be able to approach designed things as if they were children involved in a drama of subject-objects.

V. CHILDREN AND OBJECTS

Where are children when they are playing with things? What is the status of the objects that they play with in their daily dramas of things? Donald Winnicott’s concept of transitional objects allows us to understand that for children, objects can be special things [7]. That is, for Winnicott, objects can become subjects or subject-objects as we saw with Bachelard. Children find little difficulty in acting out the drama or secret or intimate life of things. For children, even old shoeboxes can be magic.

Bachelard, looking at architecture in a poetic way, points out: “If I were asked to name the chief benefit of the house, I should say: the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace” [1]. Children are often able to perform this kind of dreaming with any object that they find available. For children, the entanglements are obvious aspects of their relationships with things. For children the world is already a Latour kind of Actor Network. Things can be actors and not remain static as merely things to be acted on. Children can give themselves over to objects, within their play. That is, children are able to stage their own dramas through and with things in ways that establish the identity of each as an actor within a drama.

VI. CONCLUSION: SO, WHAT ARE THINGS FOR?

In the everyday world of designed things, things can be seen to have affordances. That is, there are actionable aspects of things. We can turn a door handle; we can pull the tab on a can of Coke, we can open our iPod package. For the perceptual psychologist, J. J. Gibson, affordances are descriptive of the relationships we form as part of our being actors in a world of natural things [8]. For example, flat surfaces are for walking on. In the terms of Donald Norman, affordances are the kinds of actions that designers can or should design into the objects of our everyday worlds [9]. This implies that affordances, for Norman, are about the possibilities of better designs at the pragmatic and communication level. Signs should not be ambiguous;

Senses&Sensibility’13 143 they should mean what they indicate. What they indicate should be a message that can be communicated. Looked at this way, designed things may form anerotic connections, via the rather direct mediation of communication. For example, toys want to be played with. They indicate this affordance by their colour, their texture, their size, their symbolic appearance. By extension we can understand, for the designers of things, affordances can be looked at from the more imaginative and entangled perspectives of Bachelard and Winnicott and Latour. That is, designs can provide the stage for the exploration of engagements that exceed mere function and extend understandings of affordance. Some things go “pop” dramatically. Many more designed things could take advantage of similar designed moments of excess sensory information. Many more designed things could realise the dramaturgical possibilities that mostly remain the secret that some users can disclose.

REFERENCES

[1] Gaston Bachelard, The Poetics of Space, Beacon Press, 1994.

[2] Jeunet, Jean-Pierre [director], Amélie [Interview] from Indiewire: . Accessed July, 2003.

[3] Fauth, Jurgen & Dermansky, Marcy, “Happier than ateletubby on ecstasy: Amélie” [Film Review]. . Accessed July, 2003.

[4] Geberzahn, W. O. Design Report from Germany, an interview with Jürgen W. Braun, http:// www.designboom.com/news/june/designreport.html. Accessed July, 2003.

[5] Lashinsky, Adam. Inside Apple: The Secrets Behind the Past and Future Success of Steve Jobs’s Iconic Brand. London: John Murray, 2012.

[6] Bruno Latour, Pandora’s Hope: Essays on the Reality of Science Studies, London: Harvard University Press, 1999.

[7] Donald Winnicott, Playing and Reality, New York: Basic Books, 1971.

[8] J. J. Gibson, J. J. (1977). “The theory of affordances”, In R. E. Shaw & J. Bransford (Eds.), Perceiving, Acting, and Knowing. Hillsdale, NJ: Lawrence Erlbaum Associates, 1977.

[9] Donald Norman, The Design of Everyday Things. New York: Basic Books, 2013.

144 Senses&Sensibility’13 The Use of Place Branding Practices as a Means of Entering Florianopolis in the Global Innovation Context

Laryssa Tarachucky, Douglas Menegazzi, and Luiz Salomão Ribas Gomez Laboratório de Orientação da Gênese Organizacional (LOGO), Universidade Federal de Santa Catarina, Programa de Pós- graduação em Design e Expressão, Florianópolis, Santa Catarina, CEP 88040-900, Brazil

Abstract — This article seeks to contextualize and conceptualize place branding and examines the opportunities for a successful brand for the city of Florianopolis as a center of innovation, mapping a route to be promoted through branding strategies. The objective of this research is to discover the strengths, opportunities, weaknesses and threats to the brand through a SWOT analysis of the conceptual material generated by methodology applied which involves interviews with actors and opinion leaders related to the brand and the city. The theory section presents concepts related to place branding and discusses their characteristics based on literary review. The empirical part of the report consists of the results of the previous events of the SWOT analysis and the analysis process, specifically targeted to promote the innovative and technological characteristic of Florianopolis.

Index Terms — Branding, Place Branding, Innovation, SWOT Analysis, TVU Branding.

I. INTRODUCTION

A brand is much more than the visual identity, it represents a company or a product, a concept, and even cities, states and countries, as it encompasses all physical and imaginary aspects, from its name, through visual identity, as also its mission, posture and positioning.

Rather, in fact cities have always been brands, and this belief is supported by the fact that, like the most traditional brands, cities also compete for power, influence, sales, investments, for tourists or residents, among other objectives [1]. In order for a city to be a good brand, it must possess defining and distinctive characteristics which can be readily identified, and they can be functional or non-functional qualities.

Florianopolis is a Brazilian reference in innovation and technology. Within the island

Senses&Sensibility’13 145 of Florianopolis is a specific area that brings together several of the main centers of knowledge and innovation in the city.

II. BRANDING AND PLACE BRANDING

The brand is, in fact, the reference point of all positive and negative impressions formed by the user over time, constituting a fundamental part of their memory and facilitating their products and services consumption choices, as well as conceptualizing institutions, activities and spaces [2]. Brands must still reach an emotional level and captivate a unique relationship with its audience, involving them in very own and specific synaesthetic qualities [3]. The significant experiences of the brand can be created from the interaction between stakeholders and experts, which brings experience within an experience economy [4]. It is also claimed that a brand can be compared to a living being, with the peculiarity that, if well managed, a brand can be immortalized.

Place branding is the part of brand management that deals with the creation and the management of territories’ identity, in a greater or lesser extent, by the combination of techniques that enable a place to build their capabilities, creating meaning for its current identity and building a future identity. This process has been emerging as the most appropriate tool for the design, management and promotion of public places among both internal (resident citizens, workers and organizations installed in the area) and external publics (non-residents, organizations with the potential to settle in the area, business visitors and tourists) [5]-[8]. Its function is to influence the audience to think and act positively in relation to products and services associated with a specific place, feeding the circle forward - action - satisfaction and taking itself as a dynamic process that is based on the identity and physical and psychological assets of the territory in all its complexity.

A place’s brand must not only connect to the feelings experienced by its public [6], but also drive them to a continuous immersion to new experiences and rediscovering of the cultural, geographical and social spaces. Furthermore, a territorial brand should cyclically seek for placing on the market an integrated offering on the different areas, opportunities and assets, but always within the general concept previously generated, its brand ideology and as a key element of the implementation of the strategic marketing plan developed for the short, medium and long term.

146 Senses&Sensibility’13 III. FLORIANOPOLIS AND THE “ROUTE OF INNOVATION”

The creation of a territorial branding to Florianopolis proposes to enhance the city as a national and international reference in innovation and technology by applying branding strategies for the construction of a specific urban route (fig. 1), promoting various innovation points around town through a co-creative methodology.

Fig. 1 – Innovation Route schema

On the way there are institutions of education and research, business, government and institutions of excellence in the industry. The project intends to create a common vision of the innovative character and potential of the city, reviving awareness locally, regionally and globally, besides developing and implementing a visual identity for urban and sociocultural actions in order to provide a tool for promoting scientific and business tourism, in addition to attracting investments.

Florianopolis is widely known as the “tourism capital” due to its beautiful beaches and landscapes, but in fact the technology sector is its primary business. According to recent data [9] the technology and innovation sector in Florianopolis region is responsible for billings that should exceed U.S.$0,5 billion (one billion dollars) in 2013, surpassing the average growth of

Senses&Sensibility’13 147 16% in the last two years, and offering more than 5000 new job vacancies.

Thus, the brand and the urban path project, as signs, seek to highlight characteristics, actions and institutions that already exist in the city and unify them. The creation of a successful sign is not the result of an invention, but a meeting that provides the emergence of a collective identity in service of their constituents’ imaginary and including the images of their respective contexts. Primary mission of this sign is to be accepted by the community itself and as a legitimate and inherent emblem, non-arbitrary or imposed [4].

IV. METHODOLOGY, TARGET GROUP AND CO-CREATION

TVU Branding methodology [10]-[11] guides the design of studies presented in this research. Its key steps are divided into Think, View and Use. First, it performs an exercise of thinking the brand, investigating its characteristics through the method Brand DNA Process® (fig. 2) that starts with the diagnosis, at which brand qualifications are traced from effective collection of information through research and interviews with the audience culminating with an analysis of the strengths and weaknesses (internal elements) and opportunities and threats (external factors) that surround the brand. This process is called SWOT analysis.

Fig. 2 - Brand DNA Process® diagram

The target audience is presented as the entire population of Florianopolis city. However, on the selection criteria for the most relevant data to the SWOT Analysis, the main stakeholders are

148 Senses&Sensibility’13 defined, as the city council and secretaries correlated to the project, and the opinion makers, as public leaders from communities involved. Complementarily, other inhabitants of the town are also involved, since the brand is built through a process of co-creation with the direct and indirect participation of citizens, whether through direct public participation in surveys or through social networks.

The concept of co-creation used comes from the agglutination of Prahalad and Ramaswamy and Howe studies. According to Prahalad and Ramaswamy [12], the innovation on the scale of consumption of brands should happen by the format “consumer-to-business-to-consumer” (C2B2C), including consumers (target group) in an active and participatory way in the production of characteristics, values and concepts of institutions and their products. At a very close range, Howe highlights the crowdsourcing as a tool of “outsourcing” business thinking, attributing the crowd (final audience) an important role of choices and decisions as a collective intelligence that can provide data or directly suggest and propose new products [13].

V. SWOT ANALYSIS

SWOT analysis (acronym for Strengths, Weaknesses, Opportunities, Threats) is a marketing tool widely applied in the corporate strategic planning, which maps its internal and external aspects aiding in their positioning [1][14]-[15]. Its main objectives are: (i) to list, locate and evaluate the issues and characteristics declared by the various groups of stakeholders and opinion makers; (ii) to identify problems and verify the existence of complementarity or contradiction; (iii) to gather its causes and consequences; and (iv) to select which critical causes subject to intervention.

In this perspective the analysis is divided into two stages, as shown in Figure 3: the verification of the internal and external capabilities of the city and the intersection of these capabilities in order to obtain strategic points to the future of the brand. Internal capabilities concern the strengths and weaknesses of the company, while the capabilities are represented by external opportunities and threats.

Senses&Sensibility’13 149 Fig. 3 - Analysis SWOT diagram

Internal capabilities concern the strengths and weaknesses related to the brand. The forces are internal advantages that can be controlled. Among them is the fact that the Florianopolis’ technology sector is currently the largest city income, corresponding to ¼ of the current PIB*. Still, the city has several renowned institutions of research, development and innovation, as public and private universities, incubators and technological parks. Therefore, there is great interest of public and private initiatives to institutionalize the segment of technology and innovation to the local community and, together, promote this position internationally. These factors should be exploited to the maximum, in order to maintain a market position, exploring the qualities and regarding weaknesses. The perceived weaknesses are connected to the maintenance of a brand linked to a particular government management, which can make it a political platform and compromise its credibility among the population. Other sticking point for the project is urban infrastructural problems, such as urban mobility. These weaknesses affect the management of the project and can impair the achievement of its goals; therefore they must be constantly monitored and overcome.

The external look is complementary to the internal study in a SWOT analysis. It consists in the main evolution perspectives of the market in which the brand competes. The external analysis aims to identify through monitoring techniques the main opportunities and threats that the brand faces. They are factors from the market and the environment, decisions and circumstances outside the direct control of the brand, from which it should benefit or protect itself, building defensive barriers [14]. The main opportunities observed to the project are the possibilities of integrating and unifying information, managers and innovation institutions under the same perspective, promoting and expanding the scene and innovation actions in the city as

150 Senses&Sensibility’13 well as the dialogue among managers, community and institutions, besides of disseminating the innovative profile of the city to the local community, involving locals to actions andto society as a whole. The most threatening factors identified were the increasingly competition among territories, which requires constant updating and development to host events, projects and businesses, followed by the lack of adequate urban and touristic infrastructure to support growth of the sector. Another recurring threat in the speeches of stakeholders and opinion makers is the recognition of Florianopolis only as a summer tourism place. According to interviewed people, efforts should be aimed at strengthening the city’s image as a center of innovation in both the internal and external community.

VI. CONCLUSION

The results of the intersection of the strength and the opportunities showed that as Competitive Advantage for the innovation brand of the city, one should aim at integrating information and actions of the various institutions of the segment and uniting public and private interests enlarge them and use them to promote a new and effective positioning of Florianopolis. Considering the strong competition among global territories, the Defense Capability is presented as the union of public and private interest in the same perspective of exploitation and promotion, also in a touristic way, of the city through the business segment in innovation and technology as responsible for the higher income of the city, surpassing even summer tourism.

The Need for Guidance is about the brand awareness as an agent of unification and dissemination of information on these various activities in innovation and technology, since this profile is still dispersed or unknown by most citizens. Thus, internally promoting and exploring the identity of Florianopolis as an international innovation center. To be successful, however, this position must forecast certain vulnerabilities, such as the consequences of the brand’s association with political actions. This can make it a symbol of responsibility of government actions or promise of solution sectors such as infrastructure or urban mobility, mischaracterizing its effective action that occurs in the mapping, dissemination and implementation ofan innovation image and culture.

These considerations comply decisive role in the study and research process for the implementation of a successful territorial brand to Florianopolis. The data analysis performed

Senses&Sensibility’13 151 by the SWOT method, validated by appropriate literature review and qualitative research with stakeholders and opinion makers presents consistent with relevant studies in the segment of Place Branding applied to specific local conditions. This resulted in the guiding parameters for any future strategic action to be proposed to the brand - actions aimed at the promotion of a position that exalt and promote qualities and characteristics present in the city, still little explored locally and globally.

The studies also show favorable conclusion to the importance of valuing and recognizing the tourism focused on innovation businesses, attracting the creative class and entrepreneurs in order to promote the knowledge exchange and have a highly educated open minded population and crave innovation, working together with the communication department of the city. Finally, this study confirms the need to think about cities as global brands in the current context, in order to make them unique and competitive and, in the case of Florianopolis, to identify critical factors and thus deal with them accordingly for the success of a brand focused on innovation.

REFERENCES

[1] M. Porter, Vantagem competitiva: criando e sustentando um desempenho superior, 17th ed., Rio de Janeiro, Campus, 2004.

[2] J. Kapferer, As marcas, capital da empresa, Porto Alegre, Bookman, 2003.

[3] M. Gobé, Emotional branding- the new paradigm for connecting brands to people, revised ed., USA, Allworth Press, 2009.

[4] L. S. R. GOMEZ, and D. A. LOPES, “Brand DNA Tool aplicado ao Projeto VAMOS”, 10º Congresso Brasileiro de Pesquisa e Desenvolvimento em Design Brasil, 2012.

[5] K. Dinnie, City branding – theory and cases, New York, Palgrave Macmillan, 2011.

[6] R. Govers, F. Go, Place branding – glocal, virtual and physical identities, constructed, imagined and experienced, New York, Palgrave Macmillan, 2009.

[7] S. Anholt, Competitive identity: the new brand management for nations, cities and regions, New York, Palgrave Macmillan, 2007.

[8] S. Anholt, Places: identity, image and reputation, New York, Palgrave Macmillan, 2010.

[9] R. Cruz, “Tecnologia de Florianópolis chega ao primeiro bilhão”, O Estado de São Paulo, São

152 Senses&Sensibility’13 Paulo, September 23rd 2013. Available at: . Access: July, 23rd 2013.

[10] L. S. R. GOMEZ et al, in I. Cantista, F. V. Martins, P. Rodrigues, and M. H. Alvim (orgs.), “A Moda Num Mundo Global/ Fashion in a Global World”, Vida Econômica, 2011.

[11] ____; M. G. A. Prestes, “A experiência da marca: proposta de metodologia para a identificação do DNA de organizações”, Congresso Brasileiro de Pesquisa e Desenvolvimento em Design, 2010.

[12] C. K. Prahalad, and V. Ramaswany, The Future of Competition: co-creating unique value with customers, USA, Harvard Business School Publishing, 2004.

[13] J. Howe, O poder das multidões, Sao Paulo, Campus, 2006.

[14] M. Daychoum, 40 + 8 ferramentas e técnicas de gerenciamento, 4ᵗh ed., Rio de Janeiro, Brasport, 2012.

[15] P. Kotler, Administração de marketing, 10th ed., Sao Paulo, Pearson Prentice Hall, 2000

Senses&Sensibility’13 153 Spatiality, Mobility and Technologies: Smart Societies and Collective Action

Lucas Franco Colusso and Alice Theresinha Cybis Pereira UNIVERSIDADE FEDERAL DE SANTA CATARINA, FLORIANÓPOLIS, BRAZIL

Abstract — When talking about mobility, we think of topics such as bandwidth, location systems and wireless networks. Conversely, social and cultural mobility bring a different set of issues: globalization, disputes between economic classes, migration, cultural identity, traffic. In this article, we examine the connections between these two aspects of mobility. Drawing on non- technological texts about cultures and spatiality, we argue that mobile information technologies do not operate only in space, but are tools that serve to structure the spaces through which they move, creating more smarter and collaborative possibilities. We discuss three important aspects: social standards, latent support for collective action and privacy challenges and prejudice. Thus, opening up new paths to explore in Design projects and analysis.

Index Terms — Mobility, spatiality, technology, smart societies, civic networks, collective action.

I. INTRODUCTION

John Urry [1], the sociologist, suggested that mobility, rather than society can be the main theme for sociology in the XXI century. He argues that, in contrast to a sociology centered on social stability, sociology must increasingly deal with mobility in many types - the movement of people (migration, diaspora, tourism, jet-setting, business, suburbanization, etc.), but also the movement of goods, capital, information and media - and its dynamics. Transnational migration, economic globalization, among others, are obviously forms of mobility that need to be understood socially. So is the daily commute to work, to the bustling nights of metropolis, or simply going on vacation.

What this means is that when we approach the topic of mobile technologies, we are at the nexus of two powerful intellectual and cultural currents. Both mobility and technology are deeply rooted in particular ways of thinking and imagining the world and us. In this work, our objective is to examine the relationship between these two concepts, and in particular, examine the ways in which technology can meet the diverse cultural inroads of mobility.

154 Senses&Sensibility’13 This is developed by recent attempts to focus on the social and cultural aspects of mobility in Human Computer Interaction (HCI), Design and ubiquitous computing [2, 3]. Issues of spatiality have been of interest for research in HCI design because in recent years the forms of engagement with the issue of spatiality changed and two trends were noticed. The first is a response to the spread of mobile and wireless technologies that create new opportunities for mobile activity [2, 4]. The second issue is the growing interest in collaboration beyond traditional definitions of work, including settings for recreation and social expression. [5]

Much have been argued that the social organization of space is a consequence of the ways in which it is inhabited and traversed, that mobility, in other words, is a means by which spatiality is produced [4, 3]. In this paper, we present this argument by examining the cultural contexts of mobility. We draw on a number of considerations that are outside the domain of information technology in order to gain perspective. We begin by discussing the relationship between mobility, spatiality and technology to reflect on what they can tell us about the prospects for mobile interactive technologies.

II. SOCIAL ORGANIZATION OF SPATIALITY AND MOBILITY

When we think of collaboration support, it seems, we often think in spatial terms. Spatial arrangements dominate the ways in which we understand the associated problems [6] and so often resort to spatial models and metaphors of movement and mobility in designs.

The distinction between “place” and “space” created by Harrison and Dourish [7] is essentially distinguishing between two explanations of space. They associate “space” with an attempt to focus on the interaction and the geometric characteristics of the everyday world (such as mutual orientation and location of action). Harrison and Dourish use “place” to point to the social nature of spatialized and social activities and cultural action settings. They argue that collaborative activities are influenced not only by the spaces in which they arise, but the social and cultural interpretations of these spaces. Their point is that while the physical dimensions of the spaces and objects clearly provide different types of action, any “planned suitable behavior” is not purely a consequence of that geometry.

Following Curry [8], we adopted other view of the relationship between place and space, thinking them as social products. On this view, space is not simply an “inert container” for the places of everyday experience, but the space itself is the result of particular ways of thinking

Senses&Sensibility’13 155 about and representing the world.

In this alternative reading, what makes a place different from another is the focus, and how the boundaries and transitions are found and defined. In everyday life, we call “place” settings invested with particular relevance through a combination of physical affordances and cultural meanings. When we think about being somewhere in the office, in the bush, what we are thinking of are places. “Space”, by contrast, is a mathematical construction made by our experience of the everyday world, which is made uniform. “Space” refers to the measurement properties and uniformity of the settings that can be connected and understood. The key achievements of the vision of “space” are uniformity and unity. When we talk of moving through space, or the space between two points, we can invoke the notion of a uniform continuum, where the distinctiveness of “place” is deleted.

So it is precisely on these issues of connection and disconnection, or sameness and difference, that mobile and mobility technologies play an important role. Connection standards emerge around forms of movement and mobility and our sense of spatial organization emerges as a result of the our movement patterns. Technological infrastructures create “seams”, the boundaries between areas of operation and functioning [3]. We navigate and understand space in terms of the ways in which they reveal themselves to us, and the possibilities they offer us (we move within the limits or in search of a cell phone tower, Wi-Fi connection, electric outlets) [2]. New technological practices and new forms of mobility are associated with new ranges of questions about equality and difference that give structure and meaning to the everyday space. If there is cellular coverage is it 3G, 4G? If no Wi-Fi coverage exists in a give space, what part of the town I could go to find some? [2] Mobile technology simply does not operate in a space environment: it is involved in the production of spatiality and spatial experience. Our ideas about the organization of the spaces are also mediated by technologies and their representations.

III. MOBILE TECHNOLOGIES AND SPATIAL PRACTICES

We need to bring along a third element of mobility and technology: practice. The practice perspective on how people act in space, and how these actions make space significant provides an important link. One interpretation of this cultural link between accounts of mobility and technology is that our interest should be directed to the ways in which information technologies create new “virtual spaces” that transcends and supersedes the “real” space of the everyday

156 Senses&Sensibility’13 world. In fact, one could argue that a number of attempts to create electronic spaces for collaboration and communication, have only been created in this kind of principle [4]. However, we would advocate a completely different interpretation of the relationship between place and space in technologically mediated practice. The technologically mediated world is not outside the physical world in which it is inserted, but offers a new set of forms that the physical world can understand and appropriate [9]. We care about the role of technology in the practice of spatialization.

Previously, we tried to highlight the forms of cultural experience of space, and led to an approach of “place” and “space”, which puts first and understands the “social” as a collective and incorporated cultural experience. Clearly, the technologies of all types, including information technology, construction technology, transportation technology, play a key role in mediating our experience of space. But it is within a cultural context that these technologies mean parts of everyday life. Thus, information technology is essential in the production of social and spatial arrangements.

As the scale of social media advances the global omnipresence, an increasing number of studies have explored the intersection of computing and society. We see this in areas as diverse as political science, health, finance, sociology, and urban planning. The so-called social computing touches almost every aspect of human experience. For example, social media is so pervasive that the social implications of socio-technical systems have become part of everyday conversations, even on the collaborative coverage of “revolutions” via Twitter or Facebook.

In the last decade, one of the most striking changes in daily life is that technology has extended its reach beyond the people’s home (personal computers) and the companies. Interactive systems are no longer limited to the realm of productivity and entertainment; they are becoming an integral part of public discourse and collective action.

Early in the history of computing, productivity software became prevalent in the home and business. Some years later, playful and creative software hit the mainstream. Today, social computing emerges as a new paradigm.

Social computing has increased connections between friends and family, but more importantly, facilitated interactions among people with weak bonds or without connections. Incorporating a vision of computing as a tool for obtaining knowledge of the standards of society, and to support large-scale collective action, where people collaborate to achieve

Senses&Sensibility’13 157 common social goods. We see this often in marginal, independent public organizations of neighborhoods, cities, countries or even global like.

We will focus on two areas of social computing that we think can serve to research and development: discovery of social standards and collective action. Reflections on identified challenges are also presented.

IV. DISCUSSION

We present a series of cultural spatial logics, important here to understand spatial practice as an embodiment of technological products that we carry within spaces. The three logics are: latent social standards, support for collective action and privacy challenges and prejudice.

A. LATENT SOCIAL PATTERNS

The ubiquitous computing devices embedded in buildings and appliances act as sensors to collect physical data. Likewise, social computing systems that mediate our daily interactions with other people act as social sensors that collect social data. These data, although partial and not inclusive, help us to probe our collective attitudes and behaviors.

Recent studies have shown that it is possible to model and predict patterns of social health using existing sensors. More specifically, using Twitter data, researchers modeled patterns for the influenza epidemics in New York [10] and changes in postpartum mood among new mothers [11]. Likewise, these systems have been used to model lifestyle [12], cities dynamics [13], elections [14], and even disasters [15].

A structured analysis of social networks is a nascent field, with emerging tools for processing large volumes of data, information visualization, sentiment analysis. Research and applications in this space require multidisciplinary skills, ranging from machine learning, log analysis, content analysis, distributed database systems, and design visualization, as well as knowledge of specific areas such as sociology, public health, urban planning. Merging computing and social sciences can be difficult, but it is this combination that will lead social computing ahead in a significant fashion.

Examining large-scale social data and real time data helps us to understand and reflect on the behavior and opinions of people, discovering trends that are usually difficult to analyze. This analyzed information is useful not only for governments and large organizations, but also

158 Senses&Sensibility’13 for ordinary people, who can gain a deeper understanding of their society. These technologies can enable smarter and healthier societies and encourage reflection on the role of technology itself, which triggers more collective and individual action.

B. SUPPORT FOR COLLECTIVE ACTION

New socio-technical systems can also help or encourage collective action and social change. Among those with Internet access, participatory culture social media gives people new opportunities to connect with civic life, allowing even the marginalized people to express themselves and connect with others. The social computing embodies a vision of computing as a tool for obtaining knowledge of social standards and support for collective action on a large scale, where people collaborate to achieve common social goods.

The integration of ubiquitous communication and social media technologies in everyday life made it possible for individual voices unite and interact in the public network. This shift has transformed how social mobilizations occur. For example, Facebook messages directly affect the search for information and voting behavior in the real world of millions of people. [16]

These new media tools facilitate civic engagement in actual activities, by a desire for social change, ranging from community awareness to voting. People also use these media technologies for collective action in the events of disasters such as earthquakes [17] and even wars. [18]

The ease of participation in network communication social media now enables a variety of organizational structures (informal, individual, networked) to achieve the main tasks of collective action so far largely in the field of formal organizations: identifying people with common interests, communication, coordination of efforts.

The diversity of civic activities supported by the media suggests the need for consistent platforms for the creation of civic media systems. As the processes of collective action and civic engagement have been well studied within areas like political science and sociology, there is much work to be done in the field of HCI, Design and computing to develop a theoretical framework and a set of design patterns for computer systems that support collective action.

C. PREJUDICES AND COLLECTIVISM

Several people have questioned and expressed skepticism about the utopia that often

Senses&Sensibility’13 159 involves the role of technology in society [17,18]. For example, using social media to investigate patterns of health raises questions about the nature of public and personal health data as different data sources leading to different assumptions about the possibility of disclosing sensitive information inadvertently. Likewise, when it comes to civic media, the loss of privacy in the hands of oppressive regimes or criminal organizations can put people’s lives in danger, while in the richest societies, the use of private data can help give even more power to corporate interests. Therefore, an important issue in the design of these systems is how to empower people to negotiate their public identity in a way that also meets privacy needs.

Finally, one of the problems with widespread adoption is that it also facilitates fundamentalist collectivisms: as responsibility is spread among the crowd, negative events such as witch hunts, false rumors, and other unpleasant results might occur. For example, after the attack on the Boston Marathon, a group of anxious amateur detectives, carefully picking through the images and videos available through social media, had come to the wrong conclusion about who were the terrorist. How then can we promote a culture of citizen journalism, developing tools for the identification of false or unreliable information, and discourage wrong behavior in the masses?

V. CONCLUSIONS

In this article, our goal has been of evaluation purposes, trying to revise or amend specific design prospects. In this effort, we suppose there could be a way to change the way we think about mobility and technology. If mobility is culturally shaped, then we have to think technology not so much as devices that help to solve problems, but as instances in which the social and cultural categories are enacted. Our considerations (and concerns) illustrate this thought.

Mobility continues to be a topic of great interest to researchers in Human-Computer Interaction. In fact, as the computer-mediated collaboration is increasingly the case in everyday life, the need to understand the spatial organization of sociability becomes increasingly important. We argue that our understanding of space environments - geometric, abstract, uniform and mathematical - are also social products. Both space and place are social phenomena, but of different types. They are the product of different cultural logics. Our concern here was to bring attention to the actual practices of spatial mobility in which collective understandings of space are currently produced, positively or not.

160 Senses&Sensibility’13 These are just some of the challenges that must be addressed in the design of effective civic media, but we believe that they are a necessary part of progress in understanding the development of new social computing technologies, specially regarding mobile devices. As a community, it is our task to explore how best to take advantage of this powerful new era of great social data and social media participatory civil society, more engaged and more intelligent, and at the same time try to mitigate potential negative outcomes. To date, we have collected huge amounts of social data and observed changes in the evolution of social movements. However, we are only beginning to scratch the surface as to the best practices of large-scale social media analysis and the development of tools for more deliberative and effective collective action.

The fact that located practice is the focus of the development of cultural logics of space, suggests that our design approach should at least recognize that these logics live outside of certain technological arrangements and should participate in the development of these technologies. When mobile technologies provide users a way to organize space and the actions in terms of resource consumption (speed, information, energy), so they provide a special way to make space usable and readable. Readability is a result of design, and it should also be a design consideration from the start. Likewise, we want to evaluate mobile technologies in terms of spatial forms. There are areas with considerable experience such as geography, architecture and urbanism, which can and should be taken into account. We think this subject to be a fruitful area for Design, where lessons from decades of research in Human-Computer Interaction and other disciplines intersect with the needs and concerns of the latest in computer science and society.

REFERENCES

[1] J. Urry, Sociology Beyond Societies: Mobilities for the Twenty-First Century, London: Routledge, 2000.

[2] A. Lemos, “Cidade e mobilidade: Telefones celulares, funções pós-massivas e territórios informacionais,”. MATRIZes. n. 1, 2007.

[3] P. Dourish. “Re-Spaceing place: place and space ten years on,” 2006 Proc. of the ACM Conference on Computer-Supported Cooperative Work, pp. 299–308, 2006.

[4] M. E. Máximo. “Da metrópole às redes sociotécnicas: a caminho de uma antropologia no ciberespaço,” Antropologia no Ciberespaço. Theofilus Rifiotis [et al.] orgs. Florianópolis: Editora

Senses&Sensibility’13 161 da UFSC, 2010.

[5] S. Reeves, M. Fraser, H. Schnadelbach, C. O’Malley, and S. Benford. “Engaging augmented reality in public places,” 2005 Proceedings of the ACM Conference on Human Factors in Computing Systems. Portland, 2005.

[6] M. Reddy, P. Dourish, W. Pratt. “Temporality in medical work: time also matters,” Computer- Supported Cooperative Work n. 15, vol. 1, pp. 29–53, 2006.

[7] S. Harrison, P. Dourish. “Re-placeing space: the roles of place and space in collaborative systems,” 1996 Proc. of the ACM Conference on Computer-Supported Cooperative Work, Boston, MA. pp. 67–76. New York: ACM, 1996.

[8] M. Curry, “Toward a geography of a world without maps: lessons from ptolemy and postal codes’” Annals of the Association of American Geographers n. 95, vol. 3, pp. 680–691, 2005.

[9] M. Castells. A Galáxia Internet: Reflexões sobre Internet, Negócios e Sociedade. Lisboa: Fundação Calouste Gulbenkian, 2007.

[10] Sadilek, A., Kautz, H., and Silenzio, V. Modeling spread of disease from social interactions. Proc. of the 6th International AAAI Conference on Weblogs and Social Media. 2012.

[11] De Choudhury, M., Counts, S., and Horvitz, E. Predicting postpartum changes in emotion and behavior via social media. Proc. of the 2013 ACM Annual Conference on Human Factors in Computing Systems. ACM, New York, 2013, 3267–3276.

[12] Golder, S.A. and Macy, M.W. Diurnal and seasonal mood vary with work, sleep, and daylength across diverse cultures. Science 333, 6051 (2011) 1878–1881.

[13] Cranshaw, J., Schwartz, R., Hong, J., and Sadeh N. The Livehoods project: Utilizing social media to understand the dynamics of a city. Proc. of the 6th International AAAI Conference on Weblogs and Social Media. 2012.

[14] Tumasjan, A., Sprenger, T.O., Sandner, P.G., and Welpe, I.M. Predicting elections with Twitter: What 140 characters reveal about political sentiment. Proc. of the 4th International AAAI Conference on Web logs and Social Media. 2010.

[15] Candia, J., González, M.C., Wang, P. Schoenharl, T., Madey, G., and Barabási, A.-L. Uncovering individual and collective human dynamics from mobile phone records. Journal of Physics A: Mathematical and Theoretical 41, 22 (2008), 224015.

162 Senses&Sensibility’13 [16] Bond, R.M., Fariss, C.J., Jones, J. J., et al. A 61-million-person experiment in social influence and political mobilization. Nature 489, 7415 (2012) 295–298.

[17] Lanier, J. You Are Not a Gadget: A Manifesto. Vintage, 2011.

[18] Morozov, E. To Save Everything, Click Here: The Folly of Technological Solutionism. Public Affairs, 2013.

Senses&Sensibility’13 163 Graphiatypes: Font Design from Life to Language

Luiz Vidal Gomes, Marcos Brod Junior, Ligia Sampaio Medeiros UEFS, BA, [email protected]; UFSM. RS, [email protected]; UERJ, RJ, [email protected]

Abstract — This paper aims to be an auxiliary to the academic motivation for studies on the first settings of letters. A Designistic approach was preferred instead of the Paleographic notions used in the composition of alphabets, since the objective is to offer orientation to research projects on the essentials of calligraphy in the general design education, and use of basics of typeface design in industrial design teaching. The text is divided into three parts: (i) the profane in the writing proto-forms letters; (ii) the smart in the forms of calligraphic scripts; (iii) the sacred in the drawing of post-form typefaces for new font graphic design.

Index Terms — Origin of the letters, calligraphy and design education. Font design and industrial design teaching.

I. NOT UNDER, NOR ABOVE BUT BEYOND THE WORD DESIGN

We have quite often received criticism due to the presence of neologisms in our texts. Such comments are never pejorative, nor offensive, however, we understand that there is something irritating about our text, somewhat which takes the board of designers reviewers from the literary comfort zone.

Certainly there are unusual terms in our scholarly articles, but not necessarily neologisms, i.e., words or expressions or recent created and applied, usually without etymological support. In fact, we make use of archaisms, old-fashioned Portuguese words or phrases, e.g., debuxo, debuxar, debuxante (equivalent to drawing, to draw, draftsman), words that have been neglected, but still present in good and comprehensive dictionaries. We also employ exotic words like, for example, garabulhas, gatafunhos, gregotins (doodles, scribbles, scrawls).

Sometimes we believe to have invented a word and then discover that they were already spelled in the Houaiss’s etymological and grammatical archives, or in publications concerned to the aspects of vocabulary spelling of the Portuguese language defined by the Brazilian Academy of Arts (e.g., desenhismo, desenhística, desenhatório corresponding to designism, designistic, designtory; debuxável, debuxado, debuxadura; desenhação, desenhante, desenhístico,

164 Senses&Sensibility’13 equivalent to sketchable; sketched; drafture; design-action; designant; designistic).

We are also in favor of the adoption of the phonetic equivalence of English terms to enhance the Portuguese lexicon (e.g. leiaute /☐leIaƱt/ = layout; rafe /rʌf/ = rough, mausse /mauss/ = mouse. We believe that language is dynamic and deserves to be continually augmented and developed not only for novelty sake but mainly to achieve accuracy in meaning.

Novel fields of research and unprecedented approaches sometimes demand brand new words to explain new things and new concepts. This was the case of grafismologia (graphismology); graficacia or graficá-cia (graphicacy); logografia (logographs), morfegrafia (morphegraphic); aborigenografia(aborigenographic).

We avoid, as a matter of philosophical principle, the charming and glamorous English words used in the current Brazilian Design discourse. This choice is based on the notion that a rich vocabulary strengthens a field of knowledge. “A native tribe of Brazil, Pirahã has only words for “one”, “two” and “many”. Scientists have found that, by not having words for numbers, this limits the concept of the tribe concerning to quantities. In an experiment, they found that the Pirahã could copy patterns of one, two or three objects, but committed errors when they had to deal with four or more objects. Some philosophers believe that the strongest evidence for linguistic determinism — the theory that the understanding is limited by language and that, in some areas at least, we cannot think of the things for which we have no words” [1].

II. THE PROFANE IN THE WRITING OF PROTO-FORMS LETTERS

“And the gods made love with humans and thus invented the word”. The Egyptians seemed to believe in this idea and understood writing as a divine gift. Developed and organized, carved in stone, coined in clay or misspelled on papyrus for mortals, the Lords of Heaven have taught their major work to the scribes, the workers to whom the owners of the firmament offered the tools and encouraged in the making of records of glories, the engraving of their past, mainly that concerned to the creation of the world.

In Egyptian mythology, the god responsible for this process was Tot, anthropozoomorphic deity that has human body and head of Ibis bird. And everything related to magic, to the Moon, to knowledge, and to the written word, had Tot as mentor.

According to the Chinese mythology it was the Emperor Huang-Che (c. 3,000 BC) who defined the principles of writing after the observation and study of birds’ footprints [2].

Senses&Sensibility’13 165 The writing — one of the intellect-creative products employed to mark a surface, with the purpose to register ideas and thoughts — is accompanied by particular characteristics: (i) the spelling (signs or set of graphic marks that form the sound, image and the diacritics of a word); (ii) the calligraphy (the art of beauty to draw by hand, the letter, the word, the well-proportioned script); and (iii) the typography (the art of beautifully print words by mechanical means).

These myths refer to the emergence of writing, but we wonder if at that time, instead of “words”, there were artworks instead: printed marks without phonematic convention, but full of semantic power and diacritics able to change the meaning, significance and understanding (cf. one of the most recent discoveries from prehistory of writing: Jiahu Signs (c. 6,600 BC).

The Word love, the divinity in itself, belonged to the Gods of Heaven. Love would be forever present into the body and souls of humans.

Making love and teaching humans how to make love, the gods left engraved in the horizons and mountains of the Genesis, their seminal artwork without any shame. Signaling the main aspects of the human vital energy that in the purposely action of marking strokes, scratches and lines to give origin to letters. The proto-formal of the first graphemes (smallest units of writing system), were created at c. 30,000 BC.

The French anthropologist André Leroi-Gourhan (1911–1986), based on research and studies on the first human’s graphic marks [3], sets a series of comparative tables about the graphic changes in configurations of primitive graphisms. The heads and bodies of quadrupeds sketched, carved or painted in the caves are accompanied by gender diacritics (female and male genitalia) as indicators of type of pachyderm. And it is assumed this idea due to the similarity of these graphics with the vulva and penis of hominids themselves.

Comparing such graphics protoforms with the graphemes of the first Egyptian and Sumerian pictograms designed, more than 12,000 years later to be used as “alphabetigrams” of a new writing system, commercial-political and religiously conventionalized, realizes the power of writing systems.

Those diacritic signs can be perceived as the protoforms, i.e. the basis for the design of the letters F, D and A. It is difficult to find a scientific confirmation of that hypothesis. Although there are authors that deal with the story of the alphabet, they tend not to consider sexual issues and resemblances, as an apparent taboo. However from a designistic and creative approach, this is a thought-provoking matter.

166 Senses&Sensibility’13 After primordial humans have released their upper limbs, they found themselves in the standing position and freed to make many things: carry the prey, hold weapons to protection or attack and, after food satiation, discover the skills of the “organ of the organs” — the hand — and possibilities of the appendage.

Richard Dawkins [4] presents the stimulating idea of Maxime Sheets-Johnstone [5] for the theory of sexual selection. The scientist supposes that male humans stood on legs to show off their penis; and the females did for the opposite reason: to hide their genitals. Dawkins also presents Jonathan Kingdom’s impression that we are bipeds today as a consequence of feet adaptation for supporting the act of taking food to mouth and eating, squatting and defecating or “ir aos pés” (going to feet), as Gauchos would say, the Brazilians from the south of the country.

Research on graphisms does not answer which members of the human prehistoric groups pictured graphically the prehistoric caves. It is possible that the primitive females, protected in the caves, at sunset, could see the silhouettes of the hunting actions outside, and large animals preparing for the night and then courting dances for love. So, it is conceivable that cave marks were mostly made by females who watched the lines, shapes and sizes of the body configuration and proportions, including some details of male genitals, usually erect, ready to action.

The males, just because they make use of celestial bodies as a compass, pictured in the caves beasts configurations as “maps” made with lines linking what the stars ofthe constellations-forming. The German anthropologist, Michael A. Rappenglück (1957–), for example, the constellations of Taurus and the Pleiades are represented in the caves of Lascaux.

The first graphisms that can be compared to “letters” for a written system, date from c. 3,000 BC, considering the Indian principles about the numbers harmony for the spatial organization (grids and modules).

Taking the aesthetic-formal Roman foundations and technical-functional for ordination, composition, proportions in the of Arts of Design products, it is also necessary to visit the seminal ideas of spatial hierarchies based on Pythagorean musical scales (600 BC), as well as understand the relationships present in golden ratio of things created by nature and, as Euclid did (300 BC), apply them to the geometry of the material culture.

For the design of the “writing” there are dates already set for each one of the systems, namely: (i) to the pictographic Sumerian writing, c. 5,000 BC, and to the cuneiform system c. 3,200 BC; (ii) for Egyptian writing, in its hieroglyphic stage 3,000 BC, and hieratic (300 BC) and

Senses&Sensibility’13 167 demotic (30 BC); (iii) and for the Chinese ideographic writing or, better to say, morfegraphic, the 3,000 BC [6].

As for the drawing of diacritical marks — organized system of signs graphics to the fixing of what one thinks, feels, or simply expressed — the problem of dating becomes more complicated [7] because, although it is realized an petroglyphs signs organization as a “language” [8], there is nothing like a Rosetta Stone to be used as dictionary of graphics of the Upper Paleolithic, thus allowing to translate the meanings of the petroglyphs [9]. One cannot ensure the meaning of such prehistoric graphic marks, whether by Anthropology or by History [10].

Another aspect of research about the origins of writing is to investigate the purposes that motivated human group to organize themselves to define the codes assigned to each of the components of the signs so many graphic languages. Had these drawings religious or political objectives? Had economical, educational, literary purposes?

Even far from our time, illustrating this diachronic process, under the designer view, maybe helpful to compose another story of graphic design for the product “letters”, leaving the story of processes of “writing”, to anthropologists and paleontologists.

The discovery of colors (ochre and magnesium) and the invention of the objects of personal adornment allowed the beginning of innovation of the letters: were these from the marked lines on the walls of copulations or libidinous dances, or set of lines written in stone, bone or small incisions offsets that bear witness to the beginning of figuration (away from figurative concrete). The rhythmic figurations, as hunting marks, demonstrate technique and anthropideos language: the expression makes the kinetics; and the figure determines the graphisms design.

André Leroi-Gourhan teaches that the “Australian” churinga, “in addition to having the abstract character, mobilize two sources of speech, motor skills verbal, rhythmic, and a graphisms dragged on the same dynamic process”. The graphism begins not by an innocent representation of reality, but the abstract [...] interesting is the fact that graphics do not have begun by an expression “servile” and real photo, but organized in a dozen years, from signs that appear to have expressed, first, the rhythms and shapes.

Where, however, to begin the understanding this evolutionary process of drawing letters and then the invention of designing an alphabet? Even considering that the writing is certainly more humane product of humans, is the design of writing characters, which means divine signs. Epicureans, however, would explain based on a source a little bit more human: “Eu falo, com

168 Senses&Sensibility’13 uma pena escrevo..., às vezes, pinto”. (I, phallus, with a pen write..., but sometimes, I paint).

In Portuguese, the erotic relations between the verb “falar” (to speak) has in its conjugation in the present of indicative first person the form “Eu falo” (I speak). Such verb time has some homophone relations with the word “falo”, phallus, (from the Greek “phallus”, via Latin “phallu”), formerly, representation of the penis in erection as a symbol of fecundity of nature now, male genital organ.

This is also filled with stories, like the analogy with the tail of quadrupeds, called by the Romans of penis. By similarities with equine anatomy, penis was renamed speak and, when well proportioned, with a crown above the glade, meaning, to the Assyrians, the King [11]. Passing, so, from the “tail” to the penis, this also, by analogy, brush. It was, however, the diminutive penicillu which originated the Catalan pinzell and hence the Portuguese brush, one of the writing instruments, such as the “pen” (from the Latin penna), horny tube of bird feathers, worked in such a way as to whether drawing or writing:

Nu[m]a mão sempre a espada e noutra a pena.

(In one hand always the sword and another worth).

Try replacing “pen” for “penis” and see if it doesn’t make sense, or, better, is the own sense, since “pen” e “pencil” have everything to do with the male sexual organ. In fact, that phrase of Camoens (c.1524–1580) has his similarities with the one by Ian Anderson (1947–): “And the poet lifts his pen and while the soldier sheaths his sword E( o poeta levanta a sua pena e enquanto o soldado bainha sua espada).

The graphical representation of the parts of the body is common since the beginning. The Egyptians, as the Sumerians, used the representation of the male genitalia, denoting two consonants with the accent “met”. In Egyptian writing, the phallus is designed with both testicles. The sign “vav” was used to designate the words “nail” and “link”. In fact, the “vav” and “ayin”, were the proto-signs of future Greek letters F and D, and F and D from Latin. In fact, these were only under graphics signals used to designate Sun (god, life), the first letter, referred to the king, resembles more a rough pornographic graphite of the anus. After that, comes a letter which their design resembles a bread, food, also represented a cultivated soil.

In the third and fourth positions of the alphabet there is an horny penis and, after it, a shaved vulva, Brazilian style. In reality, the Egyptians that in terms of writing, almost all observed and

Senses&Sensibility’13 169 imitated of Sumerian, decided to change this string and give another hierarchy of what would become the sequel of the Western alphabets.

Thus, the Egyptians took the attributes of the head of a cow, with which Isis, the goddess wife of Osiris and mother of Horus (Sun god) sometimes was represented, and to put in place of Sumerian “sun-King”. What is worth mentioning is that the change was good, because, well, they might represent both the “light of life”, as the animal that helped plows the fields, and also fed them: the Aleph.

The sign for “land”, that in Sumerian writing had more to do with the shape of “bread”, was substituted by the floor-plan representation of a House beth( ). In third position there is a sign, which look like an aborigine boomerang, but also it resembles a reminiscent head of a prehistoric horse. For some the letter C is derived from the outline of the humps of a camel (gimmel).

The letter D, in the form of daleth, remained, since the beginnings in fourth position in most of the alphabets. Some prudish authors say to be that shape so because it was inspired by the triangular doors of the nomad’s tents, but the original shape of the D seems to, for sure, have been inspired on a graphite, or porno pictogram, pubic triangle of a vulva. The Sumerians, Egyptians, as well as indigenous South Americans seemed to enjoy profane, mundane things representing the erotic love.

In the fifth position, Egyptian scribes bleeped the pictogram of the Sumerian phallus and put in place another image: a man supposedly praying. So, would the “ehe”, the origin of the letter “E”. Put the “vav in sixth position and there it was forever. But, as a phallus, this appears very simplified, without details, with only two lines. Here, so, the visual power of a simple shape and synthetic setting. However, once again, there are those who write that the origin of “waw” is a “rowing paddle”.

The “vav”, indirectly, helped generate other contemporary letters, namely: the “v” and “u” table and “w” and, by all indications, also gave rise to the design of the letter Q. The idea of nail or rod, however, is interesting, especially if this has the triangular shape of the wedge. So, every time the scribes marked the clay tablets, were to repeat, graphically, the sexual act. Just look and see, very quickly it is realized.

Coincidentally, there is a basic connection between the writing of the female genitalia with the male. The marks made by wedge-shaped nails in Sumerian writing reproduce the pubic

170 Senses&Sensibility’13 triangle and a horizontal line, which is a simplified graphical representation of an erect phallus (see mt Egyptian).

Here, we find the beginning of our yarn skein: the Vitruvian Man, by Leonardo. The issue is the following: Why that illustration of male human beauty canon is so conveyed and it is presented in so many documents and printed covers of different natures? The proportions of the phallus, in home, defined and designed by Italian Leonardo, based on Roman Vitruvius, are those that all men would like to have and all the women would love to see, considering that the penis can grow up to 3 times. It is more or less what Giorgio Vasari, director of the Accademia di Disegno said: Ex Úngüe Leonem referring to that person who see carved in a rock the lion paw rasps the size and shape of the beast, right ahead of their eyes.

II. THE SMART IN THE FORMS OF CALLIGRAPHIC SCRIPTS

About a thousand years before the Christian era, happened an event that changed not only the story of writing, but also the history of mankind: the invention of the alphabet. It wasn’t a Eureka, like that “find” by Archimedes, because it was not a sudden discovering of brilliant idea. It was so, a millennial, cumulative occurrence of small discoveries, new observations from other applications, and related uses of writing developed in the Middle East.

What happens is that, as teaches us Georges Jean, one of the attributes common to the Egyptian and Sumerian, Chinese writing was that graphic signs could be used as words, syllables or diacritical marks that you change direction. To be able to read or write in any of these systems was therefore necessary to teach vast repertoire of characters: graphic signs with meaning assigned by convention (1992, p. 52).

An alphabet works quite different because with a few letters you can write what you want. This small number, however, and does not allow us to transcribe all the sounds of our language is considerably small compared with the thousands of writing Chinese characters, hundreds of hieroglyphs and the six hundred basic signals cuneiforms, a student, following the career of scribe, would have to learn. But, thanks to the invention of the alphabet and the discovery of its multiple uses that the teaching of writing has become widely available.

But once discovered the alphabet and invented writing based on characters, anyone who had to use the new registration system of language to communicate ideas, would ask:

Senses&Sensibility’13 171 where it is possible to write? What tool to use? How should be graphically present that new alphabetic writing?

As for writing pads: leather? wax? and what more? Papyrus and fabric in Egypt, clay tablets and plaques of granite, in Mesopotamia, marble, in Greece, copper, in India; silk, in China; wood, in Scandinavia. With respect to the instruments: reed and bamboo rods; animals and human hair or plant fibers brushes; iron, bronze chisels. Thus, the supports and tools for writing became multiple and varied, refined until the discovery of India ink, and the invention of paper and pen. What about beauty and the readable in writing?

Etymologically, calligraphy means beautiful writing, but in practice, it is that perceived element on a written text which allows noted the tenuous barrier between art/writing technique with the need for expression, and between drawing and designing the writing signs alphabetgraphics [12]. In 1980, Gerôme Peignot, wrote an article titled “On Calligrams”, inspired by the caligrams of Guillaume Apollinaire (1880-1918), written at the beginning of the 20th century: “there are two reasons why it was necessary to await caligrams of Apollinaire (1915), because until then these were called: “verses figured”.

As opposed to Hebrew and Arabic scripts, which can be considered essentially caligrams, or Chinese writing, essentially morfegraphic, Western writings little is provided for calligraphic writing. The Phoenicians, Greek and Latin texts, alphabetgraphics, are safe for a tight rein that prevents them from moving freely. And, yet, as Jean’s “accidental teaches, particularly Latin, were well satisfied with their registration forms and their scribes preferred not to risk compromising the meaning of sound convencionalizadas abstractions in each of alphabetigrams.

Nor Latin writings and, prior to this, nor Greek were similar to the Arabic text. They have the caligramatic constructions, but certainly were right in the middle of two techniques: painting and writing. Arabic texts, such as its speakers, express images, hence the natural identification of Scripture with the beautiful writing.

It is required from the calligrapher a well-defined profile regarding the following points: (i) goodwill; (ii) great ability to mark strokes up, down, sideways; (iii) freedom, strength and speed of hand movements; (iv) realize the beautiful graphic shapes; (v) know write, have an orderly mind; and (vi) lightness of touch of it (Figure 12). Needed is also: repetition, breathing, concentration; expression; protection of rules to prevent the emotion more than the written communication.

172 Senses&Sensibility’13 IV. THE SACRED IN DRAWING AND DESIGNING TYPEFACES

Among the items that help regulate the presentation of written texts, there are those related to factors influencing visual discrimination. The “Visual Discrimination” relies heavily on individual characteristics of a person, but also training of visual acuity. There are, according to Rossi (1981), Sanders & McCormick (1987), Pheasant (1987), external variables that affect and influence the “Visual Discrimination” of graphic objects in texts, namely: (a) Configuration: the drawing of figure and its background. (b) Measurement: the higher the object more easily seen. (c) Discrimination: Luminance and contrast. (d) Exhibition: the longer the time exposed, easier to see. (e) Familiarization: the less original, more recognizable.

There are also to be considered these other variables: (1) Angle: the position of the object relative to the angle, field of vision, can change, obstruct, or impede your viewing. (2) Movement: the movement of the product and that the notes, or both, affects visual discrimination. (3) Blurring: caused directly (light rays on field of vision) or by reflection (radius on polished surface). (4) Illuminating: if light focuses on object, it is best seen.

At the present time, there are an infinite number of sources defining models of Alphabets in microcomputers. Each presents details on their diacritics and graphic types that you can choose “letters” to the most distinct peculiarities. The choice belongs to the user designer.

We will mention here only some of the classic designs of typographic fonts (e.g., Bodoni, Claredon, Berthold) that can help the student learn what are the criteria that help define a refined graphic type: beautiful, readable, understandable.

The drawings of typographic fonts, families, such as Swiss, Folio and Univers produce printed nice texts to see and easy to read. The rules that apply to Roman characters, serif font, are also valid for the sans serif letters. The typographers, creators of these typefaces, were artists in the highest sense of the term. That is what one can see in countless typographers who designed new alphabets for more than 500 years.

Every student, after drawing some sketches for typefaces fonts, must remember these words: “the sense of good forms of letters and an attractive composition can only be purchased with the constant and careful practice of drawing. Examples [...] following can show how the shapes of letters can create tension and nobility and, at the same time as the lines of a typographic area, may appear in the eyes of the reader with the quality of a pleasant reading “ [13].

Senses&Sensibility’13 173 Each of the drawings for typeface fonts take into account issues of “visibility”, i.e. how well something can be seen by the human eye; and “visibility”, which involves issues of the human trial. There isn’t, therefore, any device that could measure directly the visibility, since this involves the individual to determine a greater or lesser visibility.

According to Richaudeau (1976), a text composed in medium-sized characters (9 points) can still be read at a distance of 1 meter (105 cm on average) of the eyes of the reader. But this same reader, outside the laboratory situation, read this same story at a distance of about 45 cm from your eyes. So, there are some cases:

In the first case: the maximum distance of 1 meter, the reader deciphers the text painfully at the limit of visibility. In the second case: the great distance of 45 cm, the reader reads the text without effort, in normal conditions of readability.

The visibility and legibility are very favored also by rules for “optical spacing” of words and letters [14]. The proper spacing of a Word does not mean equal distance between its lyrics but the proportional area of white space that lies between them. This space is called the “optical” and is as important as the design of the letters.

There is no fixed rule to properly space bar, however, gathers some information that can serve as a starting point. Start by sorting the letters into three groups: The formal letters can also be grouped by the average of their areas. One should not increase a letter close to occupy a large area; either condense or enlarge a letter to occupy narrow letter area. This makes them lighter or darker.

The word IDOREO was created for the optical perceptive space education. Note that the irregular letters should be closer to each other than the regular letters. The circular letters have more irregular than the approach. And yet:

1. the space between two straight lines should be wider or narrower than the thickness of the letter, but is compensated in the letter e.

2. the space between two letters curves is smaller, to compensate for the emptiness of the upper and lower parts of the letters.

3. the space between a straight and a circular letter is slightly larger than the two curves and smaller than the two straights.

4. the space between a letter of irregular shape and a line should be slightly larger than

174 Senses&Sensibility’13 that between a curve and the other straight, because the irregular letter has a through amount.

5. the space between a letter and a curve, in the example above, the “E” and “O”, is less than the previous one, the existing gap between the upper and lower portions of “the”, although there is compensation for the ends of the bars themselves letter “E”.

Thus, care must be taken in the spaces between each character. Such as the shapes of the letters are variable, so are the spaces. A poorly spaced word not only hinders the readability, but also tires the vision by lack of pace, rhythm and harmony. The “principle of spacing” is that the words have a visual way and, therefore, the proportional relationship between letters, numbers and the real spaces is a critical point.

These figures show basic spacing between vertical and curved, angular strokes, but mathematically. Just split a 50 in equal parts. With this unit of measure, the entire space of a Word can be controlled, offering different spaces, depending on the combination of letters. The combination are numerous and significant.

Spacing between letters, however, will vary according to the configuration of the side characters, be it in vertical stems (I, H, N, M) or a vertical rod to the left or right (B, P, F, J), semicircular left and/or right (C, G, O, Q, I, D) or other (X, K, S). The higher the character area in contact with the other, the greater must be the spacing. Exception should be made for the negative spacing required for parallel rods prone (AV, VA) and similar cases (AT), for example, for E = 0.8-basic spacing: -0.4 (-E/2).

It is recalled that, at times, but in almost all the major projects, particularly the signaling, combinations with the VA and LT, which require special attention, especially LT. these considerations can be observed for all shapes, styles or thicknesses.

Changing the theme to the families and sources of graphics types, we can start with the definition of technical terms.

“Source” is the name given to a complete collection of types of certain size and style, by varying the amount of each letter as the frequency with which it is used. A complete source contains, uppercase letters, lowercase letters, numerals, punctuation marks, and special request when small caps. Are the different sizes or types of the same body style, which generally conform to the following progression: 6, 8, 10, 12, 14, 16, 18, 20, 24, 28, 36, 48, 60 and 72 points. For example, all bodies of type “Arial” form the series of Arial..

Senses&Sensibility’13 175 “Proportion” is not the character or letter format, but, Yes, the relationship of the letter with itself and with the characters of an alphabet. Ratio is determined by the geometrical rules used to build industrial products, namely: 1. Old 2 Proportion. Modern 3 proportion. Constant Proportion 4. Proportion Monospace.

A “Former” is strictly geometric, square, triangle and circle not ... therefore a trayectoria of characters varies (cf. frutiger, garamond). A proportion of “modern” features a flexible geometry, so there is less variation between trayectoria as letters (cf. bodoni, century). In proportion to “constant”, as letters are compressed and expanded in such a way all have similar widths (Helvetica, univers). In proportion to Monospace all characters have the same trayectoria and the same spacing between letters (e.g., courrier).

There is also that if you choose the “size of X”, i.e. the relationship of size between old uppercase (capital letters) and lower case (lowercase) of letters in a typeface family. This is always based on the height of the lower case letter “x”.

In the past five years since the ideas presented by Marcos for me and other spicy enough, Jack began to emerge and I think that is what also delayed the book, since there we had to imagine and show the connections between a triangle and the straight line, the pubis and the phallus. The relationship between the letter “daleth” and the feminine principle is evident in The Song of Songs:

I rose up to open to my beloved; and my hands dropped with myrrh and my fingers with sweet smelling myrrh, upon the handles of the lock.

The pornographic associations with the drawings of signs graphics that are used to represent the sounds of human speech are not by chance. Some excerpts from the following books, feature curiosities, and can serve to support what we say. Now, it would check the “scientific” validity, because Linguistics and Designistics (desenhística) seems to already have. Examples are: (i) in the “inventory of sexual semiology of Pierre Guiraud, comprising 1,300 words to designate the penis”; (ii) in the Arab tales are about 90 names for different types of penis and vulva and their respective “behaviors”; (iii) the Indians also are not behind the Kama Sutra presents the classification of three orders for men: “Hare”, “Bull” and “horse”; and four orders for women: “Lotus”, “art”, “shell”, “elephant”, each of them defined, of course, by the size of the penis and sheath of the vulva. Artistic and drawing books of medicine dealing with the study of harmonic proportions there is concern with the shapes and proportions of measures F

176 Senses&Sensibility’13 and Ds. This, Yes, seems to be part of the unconscious collective, or erotic, as I once said, “well aware incollectively”, alone, standing or squatting, the imagery of both men and women, from the early days.

Gilberto Freyre, for example, refers to the Indians Tupinambá, 16th century had special techniques to increase the volume and size of “membrum virili”. Freyre notes that opulent Lord of ingenuity, the middle of 19th century sent to check the size of the penis of the suitors to her daughters’ husbands, because it believed that those who possessed some outstanding sex organs were better procreators “The Gaucho Erico Verissimo also underscores “phallic” tournaments, in which the kids checked which was the most “well armed” ... “the bricklayer, exhibitionist, Perez, with that thing between your legs, throbbing beast, sausage viva”. By all indications, not only the question of arithmetic of measures, but also its shape are points of interest and without any surprise, in times of virtual browsing on the internet.

[1] A. Ronney, A História da Matemática, São Paulo: M. Books do Brasil, 2012, p.16.

[2] G. Jean, Writing: The Story of Alphabets and Scripts. London: Thames & Hudson, 1997. p.25- 46.

[3] A. Leroi-Gourhan, Evolução das Técnicas: Homem e Matéria. Lisboa: Edições 70, 1984.

[4] R. Dawkins. Evolução. São Paulo: Companhia das Letras, 2009, p.121; p.123-25.

[5] M. Sheets-Johnstone. The Roots of Thinking, Philadelphia: Temple University Press, 1990.

[6] D. Deringer, The Alphabet. New York, 1948, p.37.

[7] Marc-Alain Ouknin, Mysteries of the Alphabet. New York: Abbreville, 1999. p.18.

[8] A. Leroi-Gourhan, Evolução das Técnicas: Homem e Matéria. Lisboa: Edições 70, 1990, p. 187).

[9] D. Deringer. A History of the Alphabet. Unwin Bros, 1968, p. 29.

[10] A. Leroi-Gourhan, Evolução das Técnicas: Homem e Matéria. Lisboa: Edições 70, 1987, p. 177- 217.

[11] G. Jean, Writing: The Story of Alphabets and Scripts. London: Thames & Hudson, 1997, p. 18).

[12] L. V. Gomes. Desenhando: um Panorama dos Sistemas Gráficos. Santa Maria: Ed. UFSM, 1998, p.103-151).

[13] J. Muller-Brockmann, Sistemas grelhas: um manual para desenhistas gráficos. Barcelona:

Senses&Sensibility’13 177 Gustavo Gili, 1982, p.20).

[14] FREYRE, Gilberto. Casa Grande e Senzala. 30 ed. Rio de Janeiro: Record, 1995, p.468.

[15] VERISSIMO, Erico. Solo de Clarineta. 2 ed. Porto Alegre: Globo,1973, p.71.

178 Senses&Sensibility’13 Expanding the Senses of Drawing Through Colour

Natacha Antão Moutinho1, Maria João Durão2 1 Escola de Arquitectura da Universidade do Minho 2 Faculdade de Arquitectura da Universidade Técnica de Lisboa

Abstract — By equating the creative use of colour with the disciplinary boundaries of architecture, this paper integrates observations, reflections and insights on a variety of alternative graphic strategies, and also expands the meanings attached to a drawing when the significance of colour is highlighted within the creative process of architectural design. Through the observations of numerous drawings from Portuguese architects we have already detected several functions or uses of colour in the design process. Colour can be used in a more straightforward way as a graphic element that can add meaning to a drawing. However, the plethora of meanings include, but do not exhaust, such functions as the exploration of a tool for operative modes or the expression of subjectivity attached to the project, as well as to the author, through complex arrays of colour meanings and expressions.

Index Terms — Colour; drawing; process; design; architecture.

I. INTRODUCTION

Architects use drawing as a tool for their practice as creators. It is through drawing that architects think and communicate ideas, intentions or visions to others as well as to themselves. Drawing has been subject of analysis and scrutiny but usually focused on themes that encompass skills, methods, conventions, and so forth. This paper addresses drawings by architects from a completely different standpoint: an enquiry directed to the role of colour. It is generally accepted that colour is a very significant tool and a powerful means of expression, operating at many perceptive levels that can add information and significance to an image.

Yet, we are looking into drawings when they are made specifically during the design stage of an architectural project, and therefore as to how significant colour is in the actual ‘making of the drawing’ as well as what meanings and functions it serves in the design process?; what is the role of colour in drawings by architects?; how do design processes integrate colour? These were also some of the leading research questions that initiated an ongoing investigation within

Senses&Sensibility’13 179 a PhD program in Fine Arts – specialization in Drawing. The research problem embraces more overarching issues such as how colour triggers the imagination and processual thinking. The aim of this paper is to show some different strategies used by architects during the design process that can be observed in freehand drawings.

II. METHODOLOGY

The adopted methodological procedure used for this research includes iconographic data (drawings) organized according to a conceptual framework grounded in data acquired in interviews, observation techniques and literature review.

Several Portuguese architects were contacted for interviews and generously gave permission to include and use their work in this study. These drawings were subjected to examination and photographed for further analysis.

In each drawing we examined the type of drawing, establishing connections between the phase of the project and the objectives of the drawing, cataloging each as conceptual, formal or illustration drawing. In each drawing the use of colour is observed considering its representational values and the colour dimensions that are explored in the graphic process.

The overall assumption is that freehand drawings are a privileged means to establish and develop a visual investigation in any project based design such as architecture. It allows the architect to explore, visualize, idealize, test or communicate solutions or visions. In design, drawing can aid thought and communication of ideas or instructions to others, insofar as drawing responds to cognitive and communicative functions.

Drawing media such as charcoal, graphite or painting can promote different perceptions of the design and offer tactile, kinesthetic stimuli for thought [1]. The same phenomena can occur with the use of colour: it can evoke complexity and association to memories, and offer synesthetic experiences such as taste, tactile sensations and other, varying throughout the drawing process as well as within the overall architectural design process. But colour is a more complex and multidisciplinary phenomenon that involves the study of different disciplines for its understanding. Colour can be used and explored without any theoretical knowledge, only through the pleasure and experience of our physiological and perceptual responses, among other. However, study of colour embraces semantics, psychology, anthropology, colour theory and art.

180 Senses&Sensibility’13 III. COLOUR ORGANIZER

Usually architects fill pages with overlapping sketches in a web of information asa result of an intensive work or during a collective discussion of the project with the architect’s collaborators. These images are not used to present their work to clients but they are the visual outcome of an ongoing design research. Such drawings offer an insight to the understanding of architectural design strategies. Architects can draw without any obvious organization on the page and just sketch through all the available space, over other drawings, in altered scales or articulating varied projections. In this case colour can take an active role helping to organize or disentangle the information [2], as Le Corbusier put it.

Fig. 1 and 2. Egas José Vieira. Private collection.

In Fig.1 one observes that different drawings are physically overlapping each other but it is still easy to read each one individually. We perceive visual information in distinct levels, because of the perceptual laws of visual distinctness, wherein elements such as colour, movement or form have a strong pop-out effect [6]. If we attend to the coloured drawn elements we may easily distinguish them from the background. The author also used the same colours in separate drawings: pink in the back plane; green for the big volumes; blue for the walls, for example. The use of the same colour tones in different drawings helps us link them as altered representations of the same shapes or forms. If it were all drawn in the same colour, like black, it would be very difficult to interpret the visual elements. This drawing is clarified and disentangled due to the use of colour. Colours distinguish information drawn, from a messy background, and it is able to articulate different overlapping projections, such as perspective or orthogonal projections.

Senses&Sensibility’13 181 In Fig.2 colour is used as a pop-out element to differentiate a particular section that is being subject of further scrutiny. This enables the organization of visual information in a specific hierarchy that establishes an importance of value to the represented element in red, so that in fact, colour adopts the function of classification.

IV. COLOUR ILLUSTRATION

Fig. 3. Nuno Brandão Costa, Shelter, Friestas, Valença do Minho, 2001. Elevation/section, 26x41cm. Private collection.

Colour is culturally associated to objects, mostly to organic ones, such as trees, water, fruits and so on, because colour is one of the visual attributes we use for object recognition [5]. This connotative association with colour is used to characterize the colour of materials or other represented elements.

In this illustration drawing (Fig.3) the author has already decided most of the project, so it is not in a state of work in progress but functions as presentation of the project, or eventually, a confirmation of the final aspect of the future architectural buildings and space. The author uses some colour to distinguish different features such as: grass, trees or water, through a rudimentary, almost pictographic, representation of the elements.

Colour can distinguish and recognize represented elements and materials. The use of colour can add interest to the image more interesting and offer more detailed information about the work, increasing our involvement with the mood of the project.

182 Senses&Sensibility’13 Fig. 4. João Pernão, House David Faustino. Colour Study. Private collection.

In Fig.4 colour is used to identify and characterize different materials - representation through colour. Furthermore, in this work we recognize a more complex use of colour from someone that understands the paramount relation between colour and light. We could consider this drawing an as illustration because it is common to see such strong exploration of colour in final presenting graphic work. But this drawing does more than illustrate a work, it studies the way colour and light transforms space, and shows different colour alterations under different light. Colour is a representation of complex visual phenomena.

V. COLOUR EXPRESSION

Drawings made by architects during the design process are usually not considered artistic, but are viewed as a means to achieve an end. Drawing is considered a specialized tool which can be learned and improved; that can be used to explore solutions; and achieve the aimed final product. Architectural drawings are valued as the pure expression of architectural thought [4].

As we have seen above, drawing is used to think about a problem, visualize solutions and also to communicate information to others, thus: colour can help to organize information; and elaborate that information in a more emphatic or detailed way. Through this research we have also came upon some uses of colour that don´t fit this established organization. Colour is used for something else, less rational and more subjective.

In a drawing when line is used it corresponds to the limit or the edges of a form, when colour is used, not only as the colour of the instrument but as a graphic element with visual value it

Senses&Sensibility’13 183 shows something else. When line is used the focus is on measures, size, metric information. When colour is used the optical aspects are valued, explaining the visual aspect of a form or material, establishing a code to attribute meaning to the represented shapes, as previously addressed.

In a freehand drawing done during a creative process, if the space organization is an issue, if the metric considerations are paramount, there is no need for colour. So, if colour is used what is its role?

Fig. 5. Egas José Vieira, Footbridge, Santo Amaro, Lisboa, 1999. Perspective representation, 45x80cm. Private collection.

This drawing (fig.5) is an illustration of the project, according to the explanation provided by the architect. In this case all decisions were matured and the architect was in the mood for drawing. The drawing was reworked and illuminated with colour, not specifically representing the colour of the space but enhancing the elements represented. This drawing resulted from a craving for drawing, only for the pleasure of doing it. In this example we can observe that when all the design problems are accomplished there is room to explore other ideas or desire, such as the pleasure of drawing with colour.

184 Senses&Sensibility’13 Fig. 6 and 7. Ricardo Bak Gordon, House in Estoril, Private Client, Cascais, 2004-2005. Sketches, 75x83cm. Private Collection

Fig. 6 and 7 represent different possibilities in space organization of a house; they represent the plan and the house implantation. In both cases we can consider that colour organizes information, separating spaces that have different functions. But couldn’t these issues be represented with line only?

This author uses colour in most of his drawings, colours are used in articulation with a big scale transparent paper support, usually larger than A2. The drawing instruments are soft pastel that slide through the paper leaving a sharp and strong colour.

Colour can offer a more complex relation with the working process offering more stimuli and a more rewarding method of drawing. For him, this method of work is more “fun”. Not only is he working his way through an architectural problem, he is also enjoying drawing: “With drawings this scale we don’t stick with black and white, right?”1 (RBG).

Architects need to be aware of several and complex technical and constructive aspects of the work, observe legislation and rules and at the same time have their work approved by the client or the jury of a competition. So can the working process be less constrained by using colour? Can the use of colour reveal more artistic expressions?

Colour can be considered the less constricted aspect in the design process because it

1 From the original “RBG - Com desenhos deste tamanho não se fica só pelo preto e branco, não é?” extract from the interview with Architect Ricardo Bak Gordon (10th October 2011)

Senses&Sensibility’13 185 is not limited to the constructive or technical aspects of the architectural project. Colour is not subject to rules and regular codes, its uses are flexible and subjective, and fit individual needs. As so colours allow free expression in these drawings.

Colour is visually stimulating and it has been shown that it affects the observer psychological and even physically. Colour awakens memories and contains symbolic meanings. We have seen that colour can be more than a complex graphic element in a drawing. It offers a subjective interest and working pleasure that provides space for artistic expression.

VI. CONCLUSION

As we have observed colour can be used as a graphic and expressive element complexifying the different graphic or methodological solutions explored through drawing, during the design process. Drawing is used as a two way tool: to think and to communicate information. Colour upgrades the quality of information and also affects the working method, by organizing or transforming the meaning of that which is depicted and represented. Colour can be used cognitively, helping organize information visually, adopting a communicative function by adding quality and meaning to the presented elements such as material or objects. By doing so, it expands the possibilities and meanings in drawing.

We read colour through our cultural and personal background, experiences and relations that have marked our perceptual understanding. We can add meaning to it or just feel the pleasure of seeing colour on paper. Colour has this personal side that is not easily explained but moves from the technical aspects included in a design process. Although colour may appear in drawings without any other reason than the pleasure of using it, colour interpretation is a significant research tool.

ACKNOWLEDGEMENTS

We would like to thank all the architects that contributed to the research addressed in this paper, especially Ricardo Bak Gordon, Egas José Vieira, João Pernão and Nuno Brandão Costa.

REFERENCES

[1] HERBERT, Daniel M. 1993. Architectural Study Drawings. Nova Iorque : Van Nostrand Reinhold

[2] Le Corbusier, “If I had to teach you architecture”; Casabella 766, Maio 2008, “Editoriale” pp.6-7

186 Senses&Sensibility’13 [3] MOUTINHO, Natacha, DURÃO, M J (2013). Role and functions of colour in the drawings of Portuguese architects; AAVV, “AIC2013 Proceedings”. Newcastle: AIC, The Colour Group (UK). pp.763-766. ISBN:978-0901623027.«

[4] SMITH, Kendra Schank (2005). Architect’s Drawings: a selection of sketches by famous architects through history. Inglaterra : Elsevier/Architectural Press. ISBN: 0-7506-57197

[5] TANAKA JW, PRESNELL LM (1999). Color diagnosticity in object recognition. Percept Psychophys 61:1140–1153. ISSN - 0031-5117

[6] WARE, Colin (2008). Visual thinking for design. [S.l.] : Morgan Kaufmann. ISBN-10: 0123708966.

Senses&Sensibility’13 187 Responsive Aesthetics

Nil Santana ACU/Department of Art & Design, Abilene, Texas, 79601, USA

Abstract — This paper investigates the ideas of Russian philosopher and literary critic Mikhail Bakhtin, and his concepts of The Architectonics of Answerability as they are applied to a reading of responsive aesthetics. Bakhtin’s concepts demonstrate a law of placement, dictating that each of us occupies a unique time and place in life, an existence that is conceived not as a passive state but as an activity, and event. Bakhtin examines the law of placement and implications of the physical sense of sight in order to use visual categories as a means for discussing the elusive concept of the self—a dialogue of in-betweeness. Bakhtin argues that to be conscious means ‘to see something.’ His Bakhtinian theory of an endless contextuality, freeing literary works from their formal limitations, opens the possibility of a new practice opposed to a closed self-reflective discourse of art. He states that, ‘any utterance is a link in a complex chain of communication.’ The closed object and the closed text start to become an open practice, a continued, active, simultaneous understanding. Bakhtin emphasizes interpretation as the origin of the text, which is equal to the creation of a text. Therefore, the viewer is equal to the author, as later will be the case with the observer creating the artwork by interaction.

Index Terms — Art, new media, aesthetics, philosophy.

I. INTRODUCTION

First and foremost, it is necessary to state here that ‘relational aesthetics’ is a term already coined in 1996 by Nicolas Bourriaud—a French curator, writer and art critic. For him, relational aesthetic theory consists of judging artwork on the basis of the interhuman relations it represents. Its theoretical and practical point of departure is the whole of human relations and its social context, rather than an independent, private space—a social interstice. Interstice creates free spaces and time spans whose rhythm contrasts with those structuring everyday life, and it encourages interhuman relations; therefore, interstitial space is also at the core of a relational aesthetic. In other words, relational art focuses not on the art object but on the kinds of social engagements and interactivities that occur around art and its interstitial social spaces.

188 Senses&Sensibility’13 Bourriaud posits that the “role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever the scale chosen by the artist.” [1] He believes that relational art is constituted when the artist dwells in the circumstances the present time offers him, so as to turn the setting of his life—his links with the physical and conceptual space—into a lasting world. The artist “catches the world on the move: he is a tenant of culture.” [2]

Nowadays, modernity extends into the practices of cultural do-it-yourself and recycling, into the invention of the everyday and the development of time lived, none of which are less deserving of attention and examination than Messianic utopias and the formal novelties that recently typified modernity. Art becomes a space for intervention, the artist its agent. The possibility of a relational art (taking as its theoretical horizon the realm of human interactions and its social context, rather than the assertion of an independent and private symbolic space), points to a radical upheaval of the aesthetic, cultural, and political goals introduced by modern art. It is no longer possible to regard contemporary work as a space to be walked through. “The viewer’s movement in the exhibition space cannot be arbitrarily stopped because it is constitutive of the functioning of perception within the art system.” [3] It is henceforth presented as a period of time to be lived through, like an opening to unlimited discussion. Once raised to the power of an absolute rule of civilization, this system of intensive encounters has ended up producing linked artistic practices: an art form with a substrate of intersubjectivity that takes being-together as a central theme, the “encounter” between beholder and picture, and the collective elaboration of meanings beyond the architectural boundaries—a hypermedial space.

The concept of a hypermedial space here connotes an interstitial place in human relations which fits more or less harmoniously, as it suggests an intervening place between beings, in- betweenness, “in-being-tweenness,” in several different cultural, social, and political contexts. Architects refer to it as the leftover gaps between building walls, as neither inside any room nor outside the building. [4] Medical doctors have used the term for years referring to a space within the human body that lies in between blood vessels and organs, or between individual cells. In his interpretation of Renee Green’s writing, Homi Bhabha sees that “the stairwell as liminal space, in-between the designations of identity,” becomes the process of emblematic interactivity, the connective tissue that constructs the difference between hierarchies and binary oppositions. [5] The temporal movement and passage that it allows prevents identities at either end of it

Senses&Sensibility’13 189 from settling into primordial polarities. This interstitial passage between fixed identifications opens up the possibility of a cultural hybridity that entertains difference without an assumed or imposed hierarchy. It is in the emergence of the interstices—the overlap and displacement of domains of difference—that the intersubjective and collective experiences of unhomeliness, community interest, or cultural value are negotiated. The representation of difference must not be hastily read as the reflection of pre-given ethnic or cultural traits set in the fixed plateau of tradition.

For the sake of my argument, I suggest that responsive aesthetics is also a state of the encounter and those installation artists, along with non-artists, become ever-present as social and culturally engaged participants. In particular, if we look at Bakhtin’s thoughts on his concept of an architectonics of answerability as a dialogue of in-betweeness, as a ground or stage where differences are somewhat equalized, there is nothing more absurd than the assertion that contemporary art does not involve any social project or that its aspects are not based on any theoretical (philosophical) foundation, which has just as much to do with working conditions and the conditions in which cultural objects are produced. In this general sense, responsive aesthetics is intrinsically connected to both individual and social contexts, and the changing forms of social life.

Fig. 1. Responsive Aesthetics. Nil Santana. 2012

190 Senses&Sensibility’13 Overlapping shapes shown in Fig. 1 appear to expand and contract in relationship to the “in- betweeness” structure that circumscribes them. As means of representation and exchange, the various media depend on and refer to each other, both explicitly and implicitly; they interact as elements of particular communicative strategies, and they are constituents of a wider cultural environment. For responsive aesthetics, we can argue that its intermediality is located in the heterogeneous, hybrid interstitial space between subjectivity, technology, and aesthetics.

II. THE ARCHITECTONICS OF ANSWERABILITY

Insofar, ‘relational’ and ‘responsive’ are interchangeable as I intend to explore Bakhtin’s concepts presented in his essay The Architectonics of Answerability. A major topic in Bakhtin’s work has been ‘architectonics,’ a term which is constantly mutating into new meanings according to the context which is invoked. However, here architectonics can be understood as “concerned with questions of building, of the way something is put together” and the relation between how living subjects get ordered into categories of subjectivity. [6]

In Architectonics Bakhtin’s thoughts demonstrate that “each of us occupies a unique time and place in life, an existence that is conceived not as a passive state but as an activity, an event,” [7] our being is inherently shifting in relation to the other, to the space it occupies in a natural world. He examines the law of placement and the implications for the physical sense of sight in order to use visual categories as a means for discussing the elusive concept of the self. Being conscious generally means being conscious of something. Bakhtin argues that to be conscious means “to see something.” [8] The Bakhtinian theory of an endless contextuality, freeing literary works from their formal limitations, opens the possibility of a new practice opposed to a closed, private, self-reflective discourse of art. He states that, “any utterance is a link in a complex chain of communication.” [9] The closed object and the closed text thus start to become an open practice, a continued, active, simultaneous understanding. Bakhtin emphasizes interpretation as the origin of the text, which is equal to the creation of a text. Therefore, the viewer is equal to the author: actively participating, as later will be the case with the observer creating the artwork by interaction and bodily presence. Bakhtin’s demand to a subjective observation is partly found in a shift embodying what Foucault calls “the threshold of our modernity.” [10]

When the camera obscura was the dominant model of observation, it was a form of representation that made possible knowledge in general. The corporeal subjectivity of the

Senses&Sensibility’13 191 observer, which was a priori excluded from the concept of the camera obscura, “suddenly becomes the site on which an observer is possible.” [11] The human body, in all its contingency and specificity, generates “the spectrum of another color and thus becomes the active producer of optical experience.” Architectonics is largely important in Bakhtin’s work and in new media theory because it emphasizes action (re-action), movement, energy, and performance. Such a concept assumes life as event—presuming selves who are active performers.

This is evident in Bakhtin’s early work, where one realizes he is concerned with the act rather than the word. Therefore, he rejects a theorization of traditional ethics and its construction of universal concepts, propositions, and laws in favor of a description or phenomenology of the world that situates each performed act or deed within its unique, concrete context. For Bakhtin, each “self” who performs an act or deed holds a unique place within the architectonic whole of Being. [12]

Important to a Bakhtinian theory applied to new media practices is the concept that, since I occupy such a unique place, and because my uniqueness is both given and yet to be achieved, I must activate my uniqueness. In doing so, I collectively participate with a unity, or rather a uniqueness, of an actual, once-occurrent, and never-repeatable whole. [13] Bakhtin calls such an imperative “my non-alibi in Being,” which requires that I act out my unique place within a complex unity, “once-occurent ought of the answerably performed act.” [14] This remains implicit in Bakhtin’s later works on communication and helps to explain the persistent theme of unity in the middle of differences in contemporary appropriations of Bakhtin.

Returning to the cross-intersection between hypermedial interstitial space, Bakhtin’s thoughts, and the arts, historically, artists—and the arts—have always been actively engaged within linguistics, representation, communication, and media, making every effort to enlighten, inform, and promote a shared experience, and then later, to comment on the cultural and social collective and domestic individual condition. As Agamben correctly suggests, “what is certain, at any rate, is that the work of art is no longer, at this point, the essential measure of man’s dwelling on earth, which, precisely because it builds and makes possible the act of dwelling, has neither an autonomous sphere nor a particular identity, but is a compendium and reflection of the entire human world.” [15] For him, art has now built its own world for itself, consigned to the atemporal aesthetic dimension of the Museum Theatrum. Thus the artist’s task has gone from translating beliefs and ideologies to supporting a consensus; from producing traditional

192 Senses&Sensibility’13 objects or images to facilitating; from artisan to craftsman or artist and philosopher; from artist to critic and commentator. This role change affects an ever-increasing disassembly between subject and object, where making and doing art has metamorphosed into a social practice. One thing seems quite apparent: the architectural space where the art installation occurs and its recourse to geometrical space is always subordinated to the possibility of some event in excess of pure physical space in which one finds his/her dwelling or proper place: a transitional home. One can be at home away from one’s home: feeling-at-home is not a function of being in one’s home, or in any home, but of being situated at the crossroads between being and beings, in this interstitial space, where, in a way, we always already are, but in such a way that this space never comes to presence as such. In art and in architecture, this hypermedial interstitial space is, as it were, materialized; truth is doubled or repeated—staged, put to work in the work—and unconcealed. Such is the beauty of art installations: to render tangible, to inscribe in three- dimensional space something interstitial—the invisible and intangible space of the difference between being and beings.

III. CONCLUSION

Fig. 2. Pulse Room. By Rafael Lozzano-Hemmer.

So when one applies Bakhtin’s theories to new media art (and installations) it actually ensures the continuity of “unfinished” art, an ever-changing, ever-becoming activity where consciousness is never completely closed, coexisting with the world; its activity fundamentally

Senses&Sensibility’13 193 transforms what is already there. This principle is clearly present in Rafael Lozzano-Hemmer’s art installations, which are great examples of Bakhtin’s basic preoccupation with invisibility of authorship and with categorically organizing the world in time and space in order to shape a perception of self.

For the Mexican artist Lozano-Hemmer, his works are primarily grounded on the capability of such interactive installations. “Fig. 2.” All his pieces are individually installed in separate rooms, and each work responds to a different type of interaction. By walking into each room, the viewer becomes conscious of his presence, as each installation prompts a different kind of response. Therefore each viewer quickly and consciously realizes he/she is a personified part of a collective body, in a dynamic relation with time and space. Moreover, the works function as an intriguing form of responsive visualization, evoking subjectivity, and placing the viewer in the same position as the author. Without their presence and activation of the space, without their interactions and inputs, the pieces would exist as inanimate objects.

To provide a definitive and full formulation of responsive aesthetics is a complex task, as the arts will continue to mutate, and the relationship with the viewers becomes more and more heterogeneous. Throughout the examples mentioned in this short essay, it is only possible to identify some common characteristics, make intertextual readings, and connect potential possibilities.

Nonetheless, it is clear that responsive art is an intrinsic artistic practice, one that is centered in the lived experience with an emphasis on the individual and social context. As explained, the work is in most cases participatory in nature and involves the sensory and intellectual faculties in regards to objects, places and encounters which can be used to question perception. Responsive aesthetics opens new spaces for interactions and often questions aspects of collective or individual subjectivity as well as its supporting structures where the interpretation is equally as collective as the experience itself where, ‘art is a state of encounter.’ [16]

Bakhtin’s conception of dialogue, as foundational to everyday life and artistic practices, opens a series of queries with which has engaged through an interconnected nexus of processes. Bakhtin’s theories present a picture of reality founded in inter-relationships yet bypassing relativism. He does this by examining the activity that takes place in the shared, outer territory between entities in relationship.

While much of his discussion relates to novels or literature in general, they are readily

194 Senses&Sensibility’13 extended to include all social and artistic acts. Such in-between relationships uncover the potential binaries reflected in the dialogical relationship Bakhtin elucidates. Responsive aesthetics elucidates the scenario as the mechanism for the act of transfer between the relational entities of archival and repertory materials. In this way, responsive aesthetics facilitates dialogical relationship within answerability between two otherwise separate entities.

REFERENCES

[1] N. Bourriaud, Relational Aesthetics (Dijon: Les Presses du Réel, 2002), 13.

[2] Ibid., 14.

[3] B. Groys, Art Power (Cambridge MA: MIT Press, 2008), 88.

[4] An interstitial space is useful when the mechanical system of the building is highly sophisticated and changing the space on the primary floors is a distinct possibility. The heights of these spaces are generally six to eight feet and allow easy access for repair or alteration. If changes or maintenance need to be performed in the interstitial space, the primary space does not need to be shut down, which is important in buildings like hospitals where the equipment in the space must operate constantly. Unlike traditionally built buildings, where the mechanical space is located in the basement or on the top floor, the interstitial space needs few vertical penetrations and therefore leaves more open space on the primary floor. The entire floor plan of these buildings can be more open because there are fewer fixed vertical penetrations through the floor and walls. See Homi Bhabha, The Location of Culture (London and New York: Routledge, 1994).

[5] Ibid., 5.

[6] M. Holquist and Liapunov. Art and Answerability: Early Philosophical Essays by M. M. Bakhtin. University of Texas Press. 1990. x

[7] K. Clark and M. Holquist, Mikhail Bakhtin (Cambridge, MA: Belknap Press of Harvard University Press, 1984), 64.

[8] Ibid., 71.

[9] Ibid., 227.

[10] M. Foucault, The Order of Things: An Archaeology of the Human Sciences. (London: Routledge, 2006), 263.

Senses&Sensibility’13 195 [11] J. Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, MA andLondon: MIT Press, 1992), 69.

[12] M. M. Bakhtin, Michael Holquist, and Vadim Liapunov. 1993. Toward a Philosophy of The Act. (Austin. University of Texas Press), 40–48.

[13] Ibid., 37–40.

[14] Ibid., 40.

[15] G. Agamben, The Man without Content (Stanford, CA: Stanford University Press, 1999), 33.

[16] N. Bourriaud, Relational Aesthetics (Dijon: Les Presses du Réel, 2002), 18.

196 Senses&Sensibility’13 The Continuous Exchange of Past-Present in Videosthetics: An Investigation of Art Video Installations, from Dan Graham to Ahmed Basiony.

Nil Santana ACU/Department of Art & Design, Abilene, Texas, 79601, USA

Abstract — For over the last three decades, film and video, and the critical and theoretical debates surrounding them have transformed the space of contemporary art and its curatorial practices. In this paper I will argue that time-based media installations are not solely dealing with the concept of present, considered time and exemplified in the psychoanalytical phenomenon often invoked in new media practice and experience, but also creatively engages the interplay between performance and temporality. As point of departure, I will investigate Dan Graham’s works and argue that his statement, “Video is a present-time medium” suggests an interesting conundrum, pointing us toward a theory of feedback as it appears in live video and new media installations and which incorporates the intentional powers of the viewers and making them part of a digital performance. Moreover, the active audience participates in the process through which the mediated performance is transformed into a perceivable image in conjunction with the embodied activity of the viewers, such performance resulting in some form of intention.

Index Terms — Video theory, new media, visual arts, philosophy.

I. INTRODUCTION

In describing his work, Present Continuous Past(s), Dan Graham writes: “The mirrors reflect present time. The video camera tapes what is immediately in front of it and the entire reflection on the opposite mirrored wall... Video is a present-time medium. The space/time it presents, is continuous, unbroken and congruent to that of the real time which is the shared time of its perceivers and their individual and collective real environments.” [1] The mirror acts as a reflection of the present time, while video shows the viewer’s past action, an exchange between present-past and present. “Fig. 1.” In so doing, the camera tapes the reflected image of the monitor, setting up an infinite revert loop of time continuums (always repeated by an eight- second delay). Conversely, the mirror at right angles to the other mirror-wall and to the monitor

Senses&Sensibility’13 197 wall gives a present time view of the installation as if observed from an objective vantage exterior to the viewer’s subjective experience.

Fig. 1. Present Continous Past(s). By Dan Graham. 1974

The mirrors simply reflect present time. If the monitor operates as a kind of mirror, it also performs a visual function that a mirror cannot: unlike a mirror, video feeds back images the same way around, as they are perceived, rather than as their reflective opposite. This further dissolves the perception of the self as something “other,” as object. Therefore, the pervasive exploration of the linguistic and perceptual possibilities of a video feedback is also evident in a number of other works made by Graham. And he does so by exploring a single notion, fairly well known and even, in some way, familiar to us by now: the notion of feedback.

II. EXCHANGE OF TIME IN VIDEO INSTALLATIONS

Dan Graham’s usage of video as part of a closed system loop was common to many video artists during the ’70s. For the purpose of this essay, we shall understand feedback as follows: when output or information from an event or phenomenon in the past will influence the same event or phenomenon in the present or future. It is also related to the event that is part of a chain of cause-and-effect that forms a circuit or loop; therefore the event is said to “feed back” into itself.

These closed-circuit, time-delayed rooms constituted a series of quasi-psycho-sociological experiments in which Graham explored live video as a tool to investigate self-perception. Here, I entirely subscribe to the wisdom given expression by the majority of Graham’s works, in which

198 Senses&Sensibility’13 one can realize that he was particularly interested in the “relationship of consciousness to philosophies of reflection and transparency.” [2] His installations were designed to encourage a strong illusory conjunction between the real and the projected spaces. Interestingly enough, while Graham’s writings often seem to accept the equivalence of perception with self-presence, his experiments point elsewhere—to the continual implication of so-called direct perception— also known as Gibsonian perception, requires the incorporation of surrounding cues on the formation of perceptions—with the deferred effects of memory. [3] A temporal exchange of sorts. In so doing, Graham intersects phenomenology with a psychoanalytic stance. Rather than downplaying the centrality of the body, this nuanced practice expresses Graham’s crucial understanding of the complex link between space, image, and body. His video installations specifically heighten the audience as the site of a bodily, but also an intellectual event.

Kraus was right to point out how a video camera and monitor can function as an electronic mirror, in light of how this property was used and examined in a number of early videotapes and installations. However, her argument rests on equating the mirror property of video with narcissism as such, using a definition of narcissism vaguely derived from Lacan. [4] We can also take a lesson from Foucault’s analysis of Las Meninas. The artist and spectator do not necessarily occupy the same position. Even if the artist is narcissistically performing for the video-mirror, the spectator of the image of this behavior is not. Conversely, if the spectator is performing for the mirror in a video installation, then the artist is not himself or herself seeking narcissistic gratification nor is the nature of the spectator’s interaction with the installation necessarily narcissistic.

III. VIDEOSTHETICS IN THE VENICE BIENNALE

In 2007, Bill Viola created a new video installation to be presented at the Fifty-second International Art Exhibition La Biennale di Venezia. Inspired by its setting—the fifteenth-century Venetian church of San Gallo—the work was entitled Ocean without a Shore: a three-high- definition-screen video and sound installation. Ocean without a Shore presented a cyclical progression of images that described a series of encounters at the intersection between life and death. Located near the Piazza San Marco, the church of San Gallo was formerly a private chapel, and Viola directly incorporated its internal architecture into his piece, using the three existing stone altars as video screens. For Viola, Ocean without a Shore “is about the presence of the dead in our lives. The three stone altars in San Gallo become transparent surfaces for the

Senses&Sensibility’13 199 manifestation of images of the dead attempting to re-enter our world.” [5] The video sequence presents the human form as it gradually coalesces from within a dark field and slowly comes into view, moving from obscurity into the light. Viola’s work deals with past and presence of life, with survival, with the will to live, and hence also with death. All intrinsically connect with forms of temporality and performance. He also suggests that, “as the figure approaches, it becomes more solid and tangible until it breaks through an invisible threshold and passes into the physical world. The crossing of the threshold is an intense moment of infinite feeling and acute physical awareness.” [6] For over thirty-five years, the work of Bill Viola has focused on universal human experiences. Viola’s production extends beyond the bounds of minimalism-structuralism, Ocean is exemplary in its ability to reveal clear links with technology and beingness. He is renowned for creating installations, videotapes, and sound performances that present manifestations of the human form undergoing various states of transformation and renewal.

The Egyptian pavilion at the 2011 Venice Biennale opened its space for a special honor to artist Ahmed Basiony, who died on January twenty-eight of same year during the uprising in the Tahrir Square, Cairo. The exhibit co-curated by Aida Eltorie and entitled “30 Days of Running in the Place,” consisted of a few video screenings of two projects by Basiony. One was a work also called “30 Days of Running in Place” and the other was a footage he shot during the early days of the uprisings in Cairo. A combination of participatory video and performance, “30 Days of Running in Place” was produced through the act of running in a single standing point, with sensors installed in the soles of his shoes, and on his body. The body heat generated by Basiony’s running was then converted into an image, a visual diagram allowing viewers to witness the kinetic aspect of energy and physical activity becoming visible.

For many, the video was not just the recording of an art installation or performance, but also an infusion of political, social, and cultural issues. Basiony died victim of anti-revolutionary police violence, so for that reason, the installation was presented with a heavy air, a somber tone, and made the earlier representation of his living body overtly emotional. Facing death, the notion of running in place as a stationary act is also rife with political overtones.

Particularly in Basiony’s conceptual work—its boundaries, its topography, and the space inside the narratives—suggest technology as art, and art as the becoming and happening of truth, a collective portrait, the polyphonic voice of the various generations of protesters against impunity.

200 Senses&Sensibility’13 In a short review written for the international online edition of Artinfo, Kate Deimlling was very keen to point out that given the “current complex moment in Egyptian history and the Arab spring and the role played by activists like him, the country’s choice of artist is both inspired and inspiring.” [7] As she suggested that according to the pavilion’s statement, the Egyptian ministry of culture seeks to “recognize and honor the life and death of an artist who was fully dedicated to the notions of an Egypt that only too recently demanded the type of change he was seeking his entire life.” [8] Basiony was an important constituent, an advocate as practitioner and educator to the use of new media technology in his artistic and socio-cultural research. In his projects, Basiony designed each of his works functioning in their own terms, confronting, feedbacking, altering directions out of a multiplicity of spheres in order to expose a personal account experienced throughout the use of audio and visual content. But as Deimlling also indicated, “from a critical standpoint, the exhibition raised some questions, since the footage filmed by the artist at Tahrir Square was not a finished personal work but a raw historical document.” [9]

Unfortunately violence still is exerted upon those whom partake in such popular movements, and for the youth who are brave for the uprisings find themselves confronted with their own limitations, and the harsh reality of regimes that can fight back with evasion, and an amalgamation of tactics that, more and more, include the instruments of terror that continues to reduce their families’ generation. Intentionally or unintentionally, what we perceive in Basiony’s work and other video artists are without a doubt valuable to considering video as powerful, accessible tool for artistic active expressions. In a profound personal and subjective approach, Basiony along with others, were able to fight Mubarak’s stronghold and suffocating regime.

III. CONCLUSION

As already suggested in the beginning of this project, the question of video is not just a question about medium, but also an inquiry which leads into thinking the possibilities of the medium itself, its ontology, the possibilities of video aesthetic in the realm of technology, becoming, and truth. The question of video does not necessarily presuppose a simplified answer. And although video practices and its paradigms are reformulated continually, one thing remains certain—the tension of its openness.

Senses&Sensibility’13 201 Feedback is what one acquires when he or she “feeds” the results of a machine’s actions back into the machine. The most familiar example is when sound produced through a microphone is channeled back through that microphone, resulting in audio feedback— which in some cases causes discomfort. However, in most other cases, feedback is desirable, as it makes adaptation possible for machines, rather than reliance on a fixed set of instructions. In video technology, feedback heightens the phenomenon of the images; it yields a pulsing movement that takes the form of repetition: post-processed, returned. Feedback is one extremely important element of Wiener’s more general argument that machines and human beings handle messages in very similar ways. [10] Accordingly, the feedback theory considers the possibility of a moment (even if infinitesimal) of exchange between past and present.

The pervasive exploration of the linguistic and perceptual possibilities of video feedback/ feedforward is also evident in a number of other works during the ‘70s by other artists such as Bruce Nauman, Nam June Paik, David Hall, Brian Hoey, Dara Birnbaum, and Gary Hill. The slippage between what Graham calls the “just past” and the present is evident in all his performances. In his installations, the camera feeds back the image of the viewer (present) that is fed forward by the TV monitor, in a continuum loop.

Performer-Audience-Mirror was Graham’s most complex performance and was his last nontheatrical live work. The incorporation of a mirror into the space of the performance established an architectural element in his topological field of action that he had already explored fully in a series of live- and video-feedback room installations begun 1974. The video image is not an immovable still set in motion by a mechanistic configuration. Instead, it is a constantly reshaping profile painted by an electronic brush. It takes its movements from the oscillations of matter, and it is composed of such oscillation itself. Video technology is a modulation of the feedback and feedforward flows—their image is nothing more than a relationship between flows. The video image is a result of contraction or dilation of the time- matter.

The concepts of feedback in Dan Graham’s works can be still further explored. In terms of the technical creation of images, the primary element of video still is the frame. With montage or techniques of overlapping, a further genetic element is introduced, a kinetic component. Video, as we have tried to suggest, is in a continuous exchange of past-present time. From this point of view, time-based technology still lies in the transition period before the period of the

202 Senses&Sensibility’13 general deterritorialization of flows. Time-based technology couples with the production of the photographic image (the impression of light on a carrier) to process the succession of images. The production of images by the machine is also not the result of an arbitrary electronic flow. It does not yet employ the endless variety of a significant figure. It does not yet submerge itself in the matter of the images. Video artists have already claimed the characteristics of video technology and its specific discrepancy with cinema in the ’60s. The film camera is too close to the illusion of perception and representation as the impression of images on the medium. This also marked a time when the idea of participatory art started to be channeled towards interactive art installations—a term which has been widely spread in the mid ’90s.

In video works by artists such as Dan Graham, the presence of the audience—whether as an image registered on a monitor, or as a sound event reproduced through an electronic feedback system—began to play an increasingly important role in providing the content and shaping the experience of the differentiated art object. Any cultural object can be viewed from the perspective of its production, its audience, and its critical assessment. In the case of video, the work as text, as Derrida reminds us, is regarded as a container or dwelling place for meaning. Although such media production today is increasingly monopolized by the cultural industries, the replication and transmission of the productions selected for promotion excludes locally produced and nonprofit experimental cultural (visual) forms. And yet, in such situations, the multiplicity, heterogeneity, and plurality of audience interpretations of any given mediated text is often presented as indication that the audience is always wrestling with its own meanings rather than being a simple matter of media deception. By interacting with video installations, we can notice a shift from a cinematic language and structure to a phenomenological use of the medium, referring to real-time bodily experience and instigating conscious intentions from the audience. While these conscious intentions may well occur, the polysemy of mass media texts is a condition for their commercial success, especially in a culturally diverse world characterized by speculative transitional media flows. It does not go any distance at all toward proving that the audience is not hindered from wider social critique or action by the mass media.

REFERENCES

[1] D. Graham, in Buchloh, Video, Architecture, Television, 11.

[2] See S. McQuire, “Video Theory, Videor Series Online, Globe Visual Arts, Issue 9 (Melbourne: Monash University), http://www.artdes.monash.edu.au/globe/issue9/smtxt.html (accessed

Senses&Sensibility’13 203 February 29, 2012).

[3] One of the major principles of direct perception states that perception is immediate and spontaneous, therefore, it does not use any unconscious inference. For detailed accounts of such theory, see the seminal work by Claire F. Michaels, Direct Perception (Englewood Cliffs, NJ: Prentice-Hall, 1981) or availableat: http://ione.psy.uconn.edu/~psy254/MC.pdf (accessed February 23, 2012).

[4] In a critique of Vito Acconci’s video performance, Centers, Krauss gets to her point when she brings in Lacan. She uses Lacan’s theorizing of the mirror stage to suggest that video is like the silence in a therapy session. A person realizes he is a construction or object of himself. He becomes a stranger unto himself. The difference between a mirror (Lacan’s metaphoric image) and video is that video collapses time, subject and object. The performer is able to see himself as an object. Subject becomes object. This phenomenon, considered an erotic one, leads to obsession, hence narcissism. Rosalind Krauss, “Video: The Aesthetics of Narcissism,” October 1 (1976): 59.

[5] http://www.blainsouthern.com/artists/billviola/ selected_works/15283-ocean-without-a- shore. Bill Viola, 25 May 2007. Text © Bill Viola, 2007 (accessed February 29, 2012).

[6] Ibid.

[7] K. Deimlling. In Artinfo “Will the Arab Spring Bloom at the Venice Biennale? A Preview of Four Politically Charged Displays.” Accessed September 22,2012.http://www.artinfo.com/news/ story/37646/willthe-arab-spring-bloom-at-the-venice-biennale-a-previewof-four-politically- charged-displays.

[8] Ibid.

[9] Ibid.

[10] N. Wiener, The Human Use of Human Beings: Cybernetics and Society, 2d ed., rev. (Garden City, NY: Doubleday, 1954).

204 Senses&Sensibility’13 Design and Consumption: the Nostalgic Relationship amongst the Consumption Habits of the Past and Present in the Day-by-day Higher Education Academics

Pablo Eduardo Frandoloso; Daniel Augusto Soares; and Hilário Jr. Dos Santos. Unochapecó, Chapecó, SC, 8980-2300, Brazil

Abstract — The present article aimed to investigate characteristics of the design relationship with the consumption of nostalgic products present in the daily lives of university students of an institution of higher education in the west of the state of Santa Catarina. To reach its objectives the research was based on a theoretical framework that passes through the fields of Design, Psychology, Anthropology, Sociology and Communication areas such as Marketing, Fashion, Entertainment and Behavior. The domination of these topics and a qualitative research through the focus group allowed us to understand the characteristics of the consumer nostalgic profile in the institution analyzed, reaching those goals.

Index terms — design, consumption, nostalgic, communication, behavior.

I. INTRODUCTION

According to Aurélio Dictionary (1999) the term “nostalgic” means missing something from the past, will to live or re-live an era that is no longer current.

The nostalgic people are consumers who see the lifestyle in a way to satiate desires with products that marked another time, experienced by them or not. These products carry with them some important factors and strong meaning for the individual.

They buy dolls, vinyl, films, fashion and retro products, bringing present symbols from eras that influence their behavior.

Products and services with added value must transcend the status of only consumer goods. Its manufacturing process, logistics and operation are important, but they are not everything. The design takes important role in this process, from the idea to the design of a project that aims to achieve success.

[1] The difference between a great product and a good product is simply that a great

Senses&Sensibility’13 205 product embodies an idea that people can understand and learn - an idea that grows on their minds, with which they engage emotionally.

This thought is consolidated in a changing and fast-paced consumer market and the consumers begin to form niches, creating new patterns of behavior and consumption trends, which allow the opening of markets of relevance in the economic environment.

[2] These niches markets are a public with consumption desires well defined. The niche public focuses on interest groups, where they find safety and can express opinions without suffering embarrassment. The wishes and desires in common gain strength and achieve more representation when placed in a group, increasing their influence and consumption power.

That said, some questions arise: what leads certain range of consumers to do so? Is there such a palpable profile to these kinds of consumers? What are the main references of these people? As these habits interfere with their social circle? In which way the design and communication can take ownership of this behavior to add value to products and brands?

It is in the perspective of an important object of research to the current consumer segment, of the behavioral tendencies and consequently of design, this research seeks to understand the spending habits of nostalgic college-age consumers of an institution of higher education in the west of Santa Catarina.

II. THE MOVEMENTS OF CONSUMPTION

The consumer has evolved with society and its brands are in the history of mankind, which was drawn through the decades, adapting to new realities, creating different perspectives.

Everything began to be motivated by a sense of scope without clear translations, something that if questioned, would have different responses and that was known by a name capable of expressing far beyond what the word is: happiness.

[3] Inscribed in characters of fire behind the lower advertising to the Canaries or for the bath salts, happiness is the absolute reference of the consumer society. This myth is found ballasted since the Industrial Revolution and the Revolutions of the century XIX.

Driven by social and technological advancements, people needed something, but they still did not know what they “need to need.” From this premise, an endless list of “needs” began to emerge, and for each of them, many different solutions have been developed; society begins to

206 Senses&Sensibility’13 creep into the wonderful creation world.

[3] The notion of necessity is similar of welfare, in the mystique of equality. The necessities describe a relaxing universe and similar naturalistic anthropology cements the promise of universal equality. Before the needs and the satisfaction principle, all men are equal because they are all equal in the use of value objects and goods.

III. TRIBALISM AND INDIVIDUALIZATION OF DESIRES

[4] Anyhow, beyond any judicial attitude, tribalism, under its more or less shiny aspects, is increasingly permeating in the lifestyles. I would tend to say that it is becoming an end in itself. That is, through gangs and clans it recalls the importance of affection in social life.

In today’s society, there is a homogenization of the masses directly affecting the individuals seeking alternatives to stop being “equal”. They are called “emotional communities”, groups in which the individual is inserted defending his feelings, which so far remained hidden. As society and human behavior are dynamic and of an intense transition, you cannot say at what time the individual feels the need to be inserted in a group. [6] To summarize, we can say that, according to the seasons, it predominates a type of sensibility, a kind of style where you specify the relationships we have with others.

It is noted that the individual, even if they belong to a group, have particular needs that define his identity in the tribes in which they are, emerging individual desires mirrored in references that characterize their lifestyle.

The large increase of options interests the large corporations and presents a new world to consumers. The market scenario undergoes to a new cycle, the individualization one, which already took their little vestiges in people seeking something more, a plus.

[5] With its lush profusion of products, pictures and services, which leads to hedonism, with its euphoric ambience of temptation and proximity, the consumer society clearly reveals the breadth of seduction strategy. They identify with the repeated multiplication of choices that makes the plenty possible in offering each time more options and combinations, thus allowing circulation and free choices.

The thought begins to be replaced by the individualization of interests, tastes, desires and needs. The standardization gives way to customization.

Senses&Sensibility’13 207 To satisfy this transformed public, the design is facing the challenge of giving form to inspiration mirrors that is, creating images and passing valuesthrough products that are unique.

[1] Included in the design is the experience of how you buy it, what really happens when you have it at hands and opens the box, how you begin to feel and what it communicates to you. And of course, there is a chain of events by which you get to know the product. This is also part of the design - what all these reference points mean to you.

Thereat, it affects the culture, customs, values and relationships. Those changes are perceived within social formations, in cities and shopping centers, in the interpersonal relationships, communication and in the way of living across the planet.

The means of communication allowed a greater social organization of the population, virtually reducing the distances, which leads to increased production and distribution of products, allowing the event in a remote location to be reflected elsewhere in the globe.

[6] This situation (of a society where the interdependence results from the interaction necessary to the causes and effects in the whole structure) is typical of a village, since the advent of electronic media, of the global village. It is also the world of advertising and public relations that is the more aware of this new and important dimension, which is the global interdependence.

People change and their consumption habits begins to be more complex, we note the denial of which since then was standardized, widely replicated and propagated.

IV. NOSTALGIA AND CONSUMPTION

At all stages of life, the factors that make up the personality of a person are the memories. Remarkable memories stored in the conscious and unconscious mind of each. Even without being noticeable, they exert defining role in many aspects of human development.

[7] Based on memories, we reduce the need of working for our brains. This also reduces the risk of dealing with new things, different and unknown. The memories of past habits influence on our present and future actions.

Behaviors are driven by memories and are configured as the happiness felt by someone in establishing certain connection with a past time. This connection can be in the form of contact with a product, benefiting from a service or simply a sense of connection with something that

208 Senses&Sensibility’13 gives your imagination.

[8] The modern hedonism allows us to evoke stimulus through imagination and in the absence of any feeling generated from the outside world. This control occurs through the power of imagination, which provides the expansion of pleasant experiences. The individual is much more an artist’s imagination, someone who takes the images from the memory or the prevailing circumstances and redistribute or otherwise perfect in your mind so that they become distinctly pleasing.

The transformation of the characteristics and nostalgic tastes in products and forms of use is increasingly evident. Within these subdivisions are further specific details, which connote the extent that this niche market has taken.

Besides liking nostalgic product, an individual can also be called a hipster, kidult, old school, among other classifications that specify the relationships between the consumer and their favorite past time.

V. RESEARCH METHODOLOGY

To achieve the research objectives, some methodological processes were used as basis.

Bibliographical research: a review of relevant theories and thoughts on the subject. [9] The bibliography review covers all the literature already published on the topic of study from single publications, newsletters, newspapers, magazines, and books.

Analyzing and filtering studies already conducted by important names of the field that involve the subject, it was studied communication science, design, psychology, anthropology, sociology, among others.

Qualitative research: it has enabled a thorough analysis of the issues raised, allowing consistent considerations and an understanding of the studied subject.

[10] In the qualitative research the researcher, to terminate his data collection, is faced with an immense amount of research notes or statements, which materialize in the form of texts, which he will have to organize and then interpret. In the data collection, the research used a focus group. The method was chosen to extract more subjective and less superficial information during the discussion.

[11] The focus group is a qualitative research technique that consists of a group interview

Senses&Sensibility’13 209 (target to be searched), in which the participation of all members is critical. Data collection occurs through discussion on a particular specific topic. Such discussion should obey a previously planned roadmap that is presented by a moderator. This throws questions to the group, encouraging and leading the discussion with a focus on the issue at hand. This is not a sequence of questions and answers as a common interview. It is expected an interaction among participants that, in the course of the discussion, may revise their opinions and redo your settings as they rebuild their point of view.

We chose to work with the best university in the western state according to the ECM, which invitations were sent via internal messaging system. The research with the focus group was held in the first half of April 2012. Fifteen people discussed the theme, which sought to identify the characteristics of the behavior of these consumers. The script questions that directed the activity included:

What takes into account on the time of consuming fashion and entertainment? Do you identify yourself as belonging to a particular group because of their consumption habits? Have you heard of Vintage, Retro or Kidult? Do you consider this time better than a later era in social and cultural terms? Report situations. Is the past an inspiration for consumption? How does this happen? In which moments such references came to you? Who influenced you to like it? Was it imposed or a choice? Why these references are so present in your everyday life and habits of the group? Quote references from other eras that are present in your everyday life. What are the items purchased by influence of the quoted references? Do you usually share that feeling in a group or keep to yourself? Do the design and communication interfere somehow when it presents symbols referring to the time that influences you? How does this happen? What are the main channels of access to this content?

VI. RESULTS AND CONCLUSION

When collecting and analyzing research data with a focus group, we note that the nostalgic public forms a homogeneous way, however with exceptions, mainly regarding the generations requisite in which they are.

Being a university atmosphere with the predominant age between 16 and 25 years, most of the public addressed in this research fits into the Generation Y, which has purchasing power and increasing influence on consumption, because they were born in a globalized world, with

210 Senses&Sensibility’13 everything in their hands.

With the possibility of making easy choices, they choose products that satisfy more than superficially their desires. This generation knows that they don’t need to like and consume the same as most people, and then find something that really identifies them.

Although all university courses have been invited to participate of the research and that the behavior of nostalgic consumption is not an exclusive feature of some areas of knowledge, one can see a greater participation of members in the area of Applied Social Sciences courses. This factor is not a rule, but reflects some characteristics of this university profile that integrates this area to the proposed theme.

The nostalgic identified in the research have the influence of the family members in their styles and habits. Being these influencers older, the references here presented are from the time when they were young.

Idols of past generations became trendsetters in music, film, television, sport and other forms of entertainment. The lack of idols with such presence and meaning, or by its trivialization nowadays, makes these individuals to work together to this chronological escape. So, they bring elements of other times and create a world where they can dress, listen, watch and give opinions that are connected to a time they consider ideal for living.

The group insists to have something special and personalized, being adverse to what is copied in a row. They seek individuality to maintain a difference between others in their social circle whom, in their view, does not have the same knowledge about the meaning of nostalgic symbols. The design gains important role because it has the power to aggregate these values to products and brands, making this public to identify and create an emotional connection with it.

They are instantly connected to entertainment sources, which form its referential of nostalgic consumption, with a strong connection with alternative music, videogames, comics, TV, movies, clothing, and trinkets.

The gender of the group has no predominant gender. The male public is more interactive as for the matter, making clear its domination by the proposed questions. On the other hand the female public shows great interest in fashion and clothing, with a certain reluctance to expose their opinions.

The contact with these people was extremely valuable and provided the survey information

Senses&Sensibility’13 211 to understand the some characteristic of nostalgic consumers behavior. This generates diagnostic guidelines for the application as to the design and communication in the midst of this new potential audience between current consumption trends.

After about a year of research, studies and discussions, the objectives were satisfactorily achieved, materializing in a survey of reference for future studies, since this is a starting point for a topic not yet explored in national researches and with much potential for applications in scientific areas that surround it.

REFERENCES

[1] BRUNNER, Robert; EMERY, Stewart. “Gestão Estratégica do Design: como um ótimo design fará as pessoas amarem sua empresa”. São Paulo: M. Books, 2010. (our translation)

[2] ANDERSON, Chris. A Cauda Longa: do mercado de massa para o mercado de nicho. 1. ed. Rio de Janeiro: Elsevier, 2006. (our translation)

[3] BAUDRILLARD, Jean. “A Sociedade de Consumo”. 2 ed. Portugal: Edições 70, 2007. (our translation)

[4] MAFFESOLI, Michel. “O Tempo das Tribos: O Declínio do Individualismo nas Sociedades de Massa”. Rio de Janeiro: Forense-Universitária, 1987. (our translation)

[5] LIPOVETSKY, Gilles. “A Era do Vazio: ensaios sobre o individualismo contemporâneo”. 1. ed. São Paulo: Manole, 2005. (our translation)

[6] MCLUHAN, Marshall. “A Galáxia de Gutenberg”. Ed. 3. São Paulo: Cultrix, 1977. (our translation)

[7] COBRA, Marcos. “Marketing & Moda”. São Paulo: Editora Senac, 2007. (our translation)

[8] BARBOSA, Lívia. “Sociedade de Consumo”. 3 ed. Rio de Janeiro: Zahar, 2010. (our translation)

[9] LAKATOS, Eva Maria; MARCONI, Mariana de Andrade. “Fundamentos de Metodologia Científica”. 5. ed. São Paulo: Atlas, 2003. (our translation)

[10] ROESCH, Sylvia Maria Azevedo. “Projetos de estágio em administração: guia para estágios, trabalhos de conclusão, dissertações e estudos de caso”. 2 ed. São Paulo: Atlas, 1999. (our translation)

[11] LEME, Taciana Neto. “Os Conhecimentos práticos dos professores: (re) abrindo para a educação ambiental na escola”. 1. ed. São Paulo: Annablume, 2006.

212 Senses&Sensibility’13 Development of Personas as the Basis for Positioning Processes

Paulo Fernando Crocomo dos Reis, Dayane Alves Lopes, Sarah Machado Wagner, Luiz Salomão Ribas Gomez, Marilia Matos Gonçalves Postgraduate Program in Design, Universidade Federal de Santa Catarina, Florianópolis, SC, Brazil. CEP: 88040-900

Abstract - Assuming that have extensive knowledge about the public is one of the main points of any design project, in any of its applications, the focus on user must also be the starting point of any branding project. In view of branding, although the brands are made from the inside out, the positioning must align to the wishes and needs of the target audience. From the idea of positioning as the way to work the existing information in the consumer’s mind, this study aims to present a way of conceptualizing audience as it is being applied to projects of the Laboratório de Orientação da Gênese Organizacional da Universidade Federal de Santa Catarina (LOGO UFSC)). The development of the concept of personas that in the current market companies must offer exclusivity, or at least the feeling of exclusivity. And thus becomes a task more assertive create an image of the consumer closer to the real, from the construction of personas as a representative of a niche medium, thus developing their products and communication with a focus in this particular individual, rather than work with data purely statistical.

Index Terms - Design; persona; positioning.

I. INTRODUCTION

In order to promote a more appropriate approach between brands and consumers in the context of current market, companies need to adjust their positioning to the language of their target audiences. Currently, people are hit by a large amount of information making it virtually impossible to concentrate attention to everything around them. Thus, proper positioning is an important way to get into the mind of the consumer avoiding the trademark is forgotten amid the numerous information.

The audience segmentation, in order to focus on specific niches, is a reliable strategy when proposing a placement and must be developed with the criteria determined to make the most effective positioning.

Senses&Sensibility’13 213 One must remember that the brand positioning refers to the planning of supply and company image to provide the same, meaning that occupies a specific place in the mind of the target audience (Kotler cited in Keller, 2000 p.70) . Thus, it is proposed that the central point of the brand positioning is the target audience. Knowing that more and more people are informed and draw their own conclusions about the brands as well as influencing other people. Goleman also points out that the trial of the brand is no longer in their efficiency, but that the consumer perceives the way they behave and how they interact with their employees, customers, suppliers or partners (Goleman cited Gobe, 2002).

Realizes that the public’s understanding of the mark takes into account the performance of the brand, its values, fundamental concepts and history. These elements are fundamental in the pursuit of building an authentic positioning. Thus, the principle of the theory of archetypes developed by Carl Jung, founder of analytical psychology which deals with human yearnings that exert motivational influences on behavior, can serve as the basis for the definition and understanding of the target audience. Batey (2010), meanwhile when said archetypal source brand concentrates a motivational which leads to identification of the public. The archetype then function as an organizer of emotional responses.

II. THE PUBLIC AND THE POSITIONING

The public is the midpoint of the positioning as well as any action branding. Knowing what he expects of a brand is critical to develop products and services that meet their needs, this understanding should be the entire company, from the managers to the service. For this, it is necessary to arouse empathy, putting yourself in another’s place, it helps to better understand how people act, feel and relate to businesses allowing evaluate and develop better consumer experience with the brand.

Fraser (2012) points out that it is first necessary to define the individual target, identifying the person whose perspective you want to evaluate to understand better. This identification can occur through the outline of the problems or challenges that the brand intends to solve.

Thus it is clear that creating personas can be an important tool in defining these experiences, assisting in the analysis of the target public.

The personas are characters described from actual observable characteristics, which represent significantly the target audience, and used as a parameter in the formulation of the

214 Senses&Sensibility’13 experience, the concept N = 1, described by Prahalad and Krishnan (2008).

Personas are archetypes, fictional characters, designed from the synthesis of behaviors observed among consumers with extreme profiles. Represent the motivations, desires,

expectations and needs, gathering significant features a broad group [...] They assist in the design process because they direct the solutions to the direction of users, guiding look under the information and thus supporting decision making (Vianna et al., 2012, p.80).

Personas allow you to create discussions on a project in a more holistic and human, because taking these characters as “real people” central to the project, including how they would act on the issue is expected to solve (FRASER, 2012, p. 150). Therefore, the persona must be built in order to identify with the archetype of the brand, but without becoming stereotypical representations.

[...] Personas serve as criteria for innovations. If well constructed, may help others having empathy for users, as well as inspire them throughout the development process while maintaining the “human factor” in the center of value creation (FRASER, 2012, p. 150).

Although the needs may seem universal, it is sometimes necessary to create more than one persona, because the relationship is not always the end result is the same for both (FRASER, 2012).

The description should address each of demographics such as gender, age and social class, as well as social and behavioral aspects that lead to the need for representation of the brand proposes to supply. “At the end, you must assign a name and create stories and needs help in the embodiment of this archetype” (Vianna et al., 2012, p.80).

The storytelling is a useful way to demonstrate empathy in addition to humanize and contextualize the opportunity for people from the development team, as well as others with whom you will share the project. His narrative history should reveal opportunities for the development of solutions (FRASER, 2012, p.152).

Thus, one realizes that bring the representation of the persona in the form of narrative history facilitates the process of understanding the relationship of the public with the brand, it is also necessary to describe the relationship of the public with the market environment, thus facilitating the development strategic actions for performance of the brand in this environment.

As the focus of the experiments converge increasingly to the user, the use of personas is

Senses&Sensibility’13 215 favorable to assist brands to draw these experiences individually for each customer.

III. THE CONSTRUCTION OF A PERSONA

After a brief review of the fundamental characteristics of the company, which can be done in various ways, from simple to discuções through processes complete branding, as the Brand DNA Process (Olhats and Gomes, 2010), combined with a basic analysis of the market, must infer what the Jungian archetype (Mark and Pearson, 2001) most appropriate to the segment where the company is located, the company’s performance at the start of the process of positioning and the one that most suits the essence of the brand. It should be understood that no individual archetypes all have all the archetypes in their subconscious in degrees and varying intensities. When we say that a brand has the archetypal hero, this will communicate with the hero archetype in the mind of the consumer, not only heroes will be the target audience. This is why, in certain cases, it becomes apparent that a trade mark has more than one archetype evident and this must be worked up to a minimum, in particular one in order to facilitate communication.

The ideal scenario is to have such a closeness between conceptual archetypes, otherwise you need a certain amount of effort in fitness and disclosure of the differential.

Although, many times, a business segment or identify with more than one archetype, the use of several of them can compromise the overall understanding of the concept of the brand and makes it irrelevant in the market. As the archetype of brand differentiation in relation to the archetype of the segment is to let your obvious difference: the brand, to be inserted in the segment, already has the archetype of the segment within itself only exists, but what makes is different from the others as their main archetype is presented in relation to the segment: archetypes, and have individual characteristics have characteristics according to whom they relate. By defining the archetype, the next step is to define the target audience. One may start with a comprehensive analysis and statistics, but the focus is the construction of an individual. This individual must be described as a real person, without showing characteristics implausible or romanticized, someone who can be recognized as a member of a niche.

This construction is an open and quite freely. Part is a discução between the creative team, managers and stakeholders, representatives of the target audience and others. Ways to build characters can from methodologies and narrative script, games or even RPGs purely imagining. The details should be clear and unambiguous and the persona created should be realistic and

216 Senses&Sensibility’13 believable.

She must have a strong connection with the archetype of the brand and have the potential to be affected by it as well with other similar people also tend to be affected the same way.

This way affect the public can be represented by a concept: an idea, phrase, icon, something that can be allocated among the sea of information that the person receives daily and still be able to represent the brand differentiation and create an emotional connection with the public (Ries and Trout, 2009).

A detailed market research should be initiated in parallel with other steps, but it becomes easier to direct and focus on competitors when it has determined the target audience. Must become familiarized with the competition in order to find the best way to “allocate” the consumer’s mind, and for that you need to know the points of parity (that point because they are in fact who are its direct competitors) and points of difference (which show the difference and how it leverages). Having knowledge of the market is possible, in fact define the positioning.

At the end of this process, the positioning can be understood as the concept of the brand within a market segment in order to affect the desired shape the mind of the consumer, represented by a persona. Therefore, the construction of the persona is the big key point in the disclosure of the differential positioning.

IV. FINAL THOUGHTS

The positioning process that is being developed in the Laboratório de Orientação da Gênese Organizacional da Universidade Federal de Santa Catarina (LOGO UFSC) has had good results in their latest applications, since the current format, focusing on personas, a study is relatively recent, having begun in mid-2012 in the way presented here. The practical application was being made almost parallel to the theoretical development within numerous projects for brand management of the laboratory in the period between 2012 and 2013 and thus the results could be harvested with relative speed.

The focus on the idea of N = 1 Prahalad and Krishnan (2008) for the construction of personas, and support them in the fundamental concepts of Olhats and Gomes (2010) for conceptualizing the positioning (REFER) has proven to be powerful tools for disclosure of the differential, the public understanding of who and how to communicate with it in the best way.

Because it is a recent research within this format, new studies are being done and it is safe

Senses&Sensibility’13 217 to say that in the future, new changes may happen to this application format.

However, to the extent that this work was performed, this positioning process appears to be fairly consistent, efficient and useful.

REFERENCES

KELLER, Kevin Lane; MACHADO, Marcos. Gestão Estratégica de Marcas. São Paulo - SP; Editora Pearson Prentice Hall do Brasil, 2006.

GOBÉ, Marc. A emoção das marcas: conectando marcas às pessoas. Rio de Janeiro: Campus, 2002.

FRASER, Heather M. A., Design para negócios na prática: como gerar inovação e crescimento nas empresas aplicando o business design. Trad. Leonardo Abramowicz. Rio de Janeiro: Elsevier, 2012.

Vianna, Maurício [et al.]. Design thinking: inovação em negócios. Rio de Janeiro: MJV Press, 2012.

BATEY, Mark. O significado da marca: como as marcas ganham vida na mente dos consumidores. Trad.Gabriel Zilde Neto. Rio de Janeiro: Best Business, 2010.

KELLER, Kevin L. Gestão estratégica de marcas. São Paulo: Pearson Prentice Hall, 2006.

BRAIDO, Quelen Ermelinda, Marketing de relacionamento: Oportunidade para desenvolvimento e crescimento contínuo no setor financeiro. Revista eletronica de contabilidade curso de ciencias contabeis UFSM VOLUME I. N.3 MAR-MAI/2005

GOMEZ, Luiz S. R. & OLHATS, Magali & FLORIANO, Juliana. (2010) Fashion’s BrandDNA: The Process. International Conference Global Fashion: Creative and Innovative Contexts. Porto.

KARDES, Frank R., CRONLEY, Maria L., Cline, Thomas W. Consumer Behavior.South-Western College Pub; 1ª edição, janeiro 2010

KOTLER, P. Administração de marketing: a edição do novo milênio. São Paulo: Prentice Hall, 2000.

[MARK & PEARSON] O Herói e o Fora-da-lei, 2001

MARTINS, José Roberto. Branding: um manual para você criar, avaliar e gerenciar marcas. São Paulo – SP; Editora Global Brands, 2006. Disponível no site http://www.globalbrands.com.br

PRAHALAD, C.K. e KRISHMAN, M.S. A nova era da inovação: impulsionando a cocriação de valor

218 Senses&Sensibility’13 ao longo das redes globais; tradução: Afonso Celso da Cunha Serra. – Rio de Janeiro: Elsevier, 2008.

RIES, Al. TROUT, Jack. Posicionamento: a batalha por sua mente. São Paulo: Mbooks, 2009.

VAZ, Conrado Adolpho. Google marketing: o guia definitivo do marketing digital, Novatec, 2009

Senses&Sensibility’13 219 Symbiosis Between Born and Fabricated Beings: Computing Creativity

Pedro Marques [email protected] - UNIDCOM/IADE – Unidade de Investigação em Design e Comunicação, Lisbon, 1200-649, Portugal

Abstract – What alterations were caused by the use of computers in the creation of art and design? Does the artist or designer have full control over creative expression or is there a lack of predictability between his intention and what is viewed on the computer screen? Should artists and designers program to produce art and design? Maybe the solution to this paradox is not in the inside or outside of the human mind but rather in the link between the two, human and computer.

Index Terms – Digital art, digital media art, evolving computing, computing creativity.

I. SYMBIOSIS BETWEEN BORN AND FABRICATED BEINGS

The relation between humans and computers can be understood as a symbiosis between born and fabricated beings, with benefits to both. Human beings understand the world through chemical representations and computer beings understand it through numeric representations. The interpretation of reality is translated into languages that allow communication between them. Humans translate intelligible languages into computer languages and computers translate computing languages into intelligible languages. Communication between man and computer is therefore not focused on man but rather on the operation of translating the languages; on man’s ability to interpret reality and communicate with the computer and on the computer’s ability to interpret reality and communicate with man. This article specifically tackles the process of transforming number representations into visual representations and the translation of computer languages into intelligible languages.

II. PROGRAMMING AND CREATIVITY

Computers use numeric language and humans use descriptive and symbolic languages. This distinction is one of the reasons that motivate the development of programming languages. Machine languages used in the first computer models were complex and not very

220 Senses&Sensibility’13 intelligible for humans. The evolution to simpler languages was fast, with the development of higher level syntaxes [1,2]. Currently programming is a process that involves writing, testing and maintaining computer applications. It is a way of embracing the unknown using principles, rules and methods traditionally defined by languages [3,4]. Computers can be recognized as machines that took over or imitate what is understood but also as vehicles for exploring and viewing the unknown. Although different, the sequence of specifying operations for a computer requires logic and can be compared to human thought. Designing computer applications is coding human thought processes into the machine. However, there are differences between the intention of a designer and the specific abilities of a computer application for responding to these needs. Usually designers are familiar with some computer-aid design applications, usually known as CAD, that allow approaching some daily problems, but that sometimes underestimate the true capacities of computers. This fact can be caused by two factors. Firstly, usually designers are not taught to program nor reflect on computer programming and design. In many design schools, students are taught to use CAD tools and use them within their limits, but they are rarely taught to channel their creativity through the structure and philosophy of programming. Secondly, CAD application programmers rarely share the source code. Some of these CAD applications allow for a certain customizing level but never the access to source code. This happens mainly because the code is proprietary information and that information has a market value. So if the designer wants to create his own applications, he must write, test and maintain them. How many designers have the time or knowledge for creating CAD applications? When will we have a community of artists, designers, architects and programmers sharing source codes between them thus contributing for their own development?

III. CAD’S LIMITATIONS

One can state that a designer’s creativity is limited by the applications that were supposedly created for unleashing his creativity. This can be explained because there is a quantity of finite ideas that can be produced using a certain application [2]. Or if the application does not have a certain option, then the designer is simply limited. On the other hand, whenever a new application is used, developed by programmers, they are once again within the limits of that new application. Are they really being innovative and creating something new? Or are they simply replicating the process already created by the application programmer? If the designer knows the processes, principles and methods of the program behind the application, then he

Senses&Sensibility’13 221 is able to expand his knowledge and design truly unique and innovative solutions. By using a conventional application and using always its design possibilities, his work will be eventually limited, controlled or manipulated by others that also use conventional CAD applications. Within this context, is the designer really creating a new design? Or is he just reorganizing data already existing within a dominion? If the programmer is the one that defines the possible solutions for a design environment, then who is really defining the parameters and the results for the design solution?

IV. COMPUTING AND DESIGN

In today’s world computer applications still take tasks traditionally performed by humans. In terms of design, there are modelling and simulation applications for virtual animation where designers’ manual tasks are progressively assumed by their computer partners, with greater efficacy and efficiency. Computer applications also perform intellectual tasks that require intelligence, thought and decision-making. When using computers for design, many use CAD applications as a means of establishing new concepts, styles or shapes. However the value of many of those processes is based on the capacities of the applications rather than on the intellectual capacity of the authors. Obviously the application was developed by a programmer who discovered the concept so probably he should be deemed the real innovator. Under this perspective, it is necessary to understand the true influence of computer applications in design. One by one, all design tasks are increasingly computer-related. Although for some computer power is considered a risk, or an inappropriate appropriation, for others it is seen as a liberation means for what the designer work should be: conceptualization. During the design process, the designer can delegate on the computer the more mundane, tedious or redundant tasks, focusing on what is more important: concept. But what if this is also replaced? What if someday new applications arise with construction programs allowing for a valid and functional design? And if those results are even better than those produced by humans? If this happens, then obviously the focus of design conception will not be the process itself, as this can be replaced, but rather the replacement operation. The new designer will create the application that will allow the latter to project in an indirect meta form. If the application programmer and the user are the same, then differences can be overcome and intention and randomness can coexist within the system. Possibly the solution for this paradox does not lie inside or outside the mind of the designer but rather in the link that connects the designer and the computer.

222 Senses&Sensibility’13 V. COMPUTER CREATIVITY

In the art area, Carl Sim’s work [6, 7] was pioneer in the transformation of numeric representations into visual representations and in the debate of symbiotic art (Fig. 1).

Figure 1 Karl Sims’ Genetic Cross Dissolves

The concept of “Genetic Images” was presented in an installation that involved visitors with a set of 16 abstract images, selected by the visitors according to their preference. Non-selected images were replaced by new images based on the selected ones. In this installation, humans provide the visual aesthetic decisions to the computer, which then generates emerging patterns. The computer could generate random images but the combination of human capacities with those from the computer allows creating results that none of both could produce independently. Karl Sims does not approach complex design problems, however the image selection process can be compared to that of a designer trying to perfect an idea or seeking new ideas through experimentation.

Harold Cohen is another unavoidable reference in symbiotic art. Since the seventies he has been developing computer applications that transform numeric representations into visual representations (Fig. 2).

Senses&Sensibility’13 223 Figure 2 Harold Cohen (2004) Pigment on paper

His evolving aesthetic system allows selecting images for generating new image versions. As the process develops, computer generated images tend to be closer to human aesthetic preferences. The final goal of the symbiotic process is the aesthetic selection through the successive transformation of numeric representations into visual representations. Symbiotic art approaches have contributed towards the idea that creativity is not an exclusive characteristic of born beings and can be programmed into a computer. Computer languages can in fact provide the means to translate numeric representations into visual representations. In the field of art, visual results are wanted with certain aesthetic characteristics. In the field of design, intelligible visual results are wanted for extracting significant information.

VI. LAST IDEAS

Reflecting on the creative autonomy of computers means reflecting on artificial intelligence computer models. The approach to rational computing [3] considers the element of the intelligent agent, with the ability to act independently, understand the operating environment, persist for a long period of time, adapt to change, creating and pursuing new goals. The representation of knowledge and rationality allows for the agent to take good decisions. His ability to learn improves the ability to generate a better behaviour. However, most intelligent agents live in complete isolation, in a given system, conversely to humans who live in a world filled with stimuli.

224 Senses&Sensibility’13 Computer creativity can be described as the ability of the computer to produce new artefacts and aesthetic styles. Its knowledge will have to evolve throughout time so that it can define and develop computer aesthetic preferences using the knowledge acquired in the surrounding cultural context. In order to expand its knowledge, it must be integrated in society and have access to its artistic and aesthetic production. As such, it can develop its aesthetic criteria and its ability to assess its works and works from other authors. Without the ability to make its own aesthetic assessment, the computer would not be able appreciate the beauty of a work and be inspired by it. As such, it no longer would be a creator but rather simply an image generating system, subjugated to human will.

VII. REFERENCES

[1] GREENBERG, Ira. XU, Dianna., KUMAR, Deepak. Creative Coding and Generative Art in Processing 2. Friendsof, an Apress company, 2013, ISBN 978-1-4302-4464-6.

[2] TERZIDIS, Kostas. Algorithms for Visual Design Using the Processing Language. Wiley Publishing, Inc, 2009, ISBN: 978-0-470-37548-8.

[3] RUSSEL, Stuart. NORVIG, Peter. Artificial Intelligence. A Modern Approach, Third Edition. Upper Saddle River, New Jersey. Pearson Education, Inc., 2010, ISBN: 978-0-13-604259-4.

[4] MAEDA, John. The Laws of Simplicity. Massachusetts Institute of Technology, 2006, ISBN 978- 0-262-13472-9.

[5] MAEDA, John. Design By Numbers. London, England. The MIT Press., 2001. ISBN 0-262- 13354-7.

[6] SIMS, Karl. Evolving Virtual Creatures. Computer Graphics, Annual Conference Series, SIGGRAPH ‘94 Proceedings, pp.15-22. 1994.

[7] SIMS, Karl. “Artificial Evolution for Computer Graphics”. Computer Graphics. Siggraph ‘91 proceedings, pp.319-328. 1991.

Senses&Sensibility’13 225 Drawings Made by Visually Impaired Persons: an Essential Strategy on Haptic Graphic Design

PhD. Gloria Angélica Martínez de la Peña Research Professor. Universidad Autónoma Metropolitana (UAM) Cuajimalpa. Teoría y Procesos del Diseño. División de Ciencias de la Comunicación y Diseño. México, City. México.

Abstract —This document refers to the importance of drawings as an instrument for design. However, it does not deal with any design or any drawing. This work deals with drawings that blind people areable to perform from within their particular construction and perception of the world. This process is feasible due to the participation of different perceptive systems, where the haptic system is the backbone. It is also pointed out how the information obtained by the blind based on their haptic perception of objects enables them to generate mental images and graphic representations of their reality, that serve to substantiate an innovative practice called “haptic graphic design”.

Index Terms —haptic graphic design, haptic drawing, performances, visual impairment, blindness

I. INTRODUCTION

Designers face new challenges, due to the complexity and diversity of users and the increasing trend to recognize and promote user-centered design. Graphic design, also referred to as design for graphic communication, has traditionally been exercised by promoting a world privileged by the sense of sight, as not all of us can see well or even see properly. By favoring only the visual, traditional graphic design, has forgotten, and excludes other possible forms of perception, through which would obtain fertile possibilities for development and innovation. In addition, such design could be appreciated by more people, including those with visual impairments, including under this classification those who have blindness: congenital or acquired, and visual weakness.

Therefore, the images generated by designers offer the opportunity to acquire in their interpretation, information by direct reading and through easy mental process, since the visual perceptual system, exteriorized in the eyes, has a great interpretive force related to our environment. Paradoxically, there is the possibility of generating another type of images

226 Senses&Sensibility’13 that are not necessarily appreciated by eyes, but perceived by other perceptual systems, for example the haptic system. The latter has been characterized also as active touch and it can be briefly noted that it is a process of perception that includes the sense of touch coupled with the movements of joints, limbs, hands and fingers, which in a joint operation (touch and movements) have the ability to obtain a considerable amount of outside information. For the discipline of design, the proper incorporation of information and knowledge obtained by this system, provides a prefiguration of a design much more appropriate and effective for persons with visual impairments. The purpose of this work is to show the relevance of drawings produced by blind people for the development of haptic graphic design, a concept that will be described hereinbelow.

II. DRAWING AS A REPRESENTATION

Graphic or representative expression, which sometimes results in illustrations or drawings, is the product of the process which takes place in the brain while hosting various images and is “considered the need to express them through a graphic media, therefore looking for an external way of communication with ourselves and with others through the representation of graphic signs and images generated by our plastic level and understanding” [5]. “Illustration is an expression, and becomes a transposition of thought” [3] therefore, it can be understood as a form of translation of the thought that shows an illusion of reality. Thanks to complex mechanisms of the human brain like imagination, we generate mental images as interpretations of the subconscious. Every person possesses in its visual memory some references of the reality that allow them to generate a mental image and therefore, the possibility to translate it into a representation, based on different characteristics and factors involved in its expression and realization. So, drawings are representations linked to the object and the conscious or unconscious reality, assuming the significant nature of them. Drawings, as images are a whole, as pointed out by Costa [1] conformed by different parts that interact (forms, lines, colors, textures) and are arranged for a common purpose and from whose syntactical structure the meaning is extracted. Illustrations create mirrors of life, ideas are forged and we also express emotions and feelings.

Continuing with the arguments noted by Costa [1] in the sense that if it is accepted that drawings (images) are the representation of something that already exists in the environment or in the memory, its relevance and also its meaning and value are supported. These images

Senses&Sensibility’13 227 as “representations of things”, show different degrees of “formal similarity with those things” and thus Costa distinguishes three categorizations of the image: still, static, and dynamic. Still images are those located on a two-dimensional, flat and lasting surface; its existence is due primarily to said substrate or support. Static images are not fixed to the surface of a level, but these are forms and media at the same time: are three-dimensional, volumetric and represent corporeity and tactility at the same time. Sculpture might be an example of static image. Finally, dynamic images, are those equipped with movement, and have a sequence or a chain of changes articulating a speech. Forms of this type of images are not necessarily expressive matter, but in fact precisely movement, action and the succeeding relationship of the story, for example a video, animated cartoons, among others.

The three types of images (still, static and dynamic), support a variable iconic nature, understood as the property of relative similarity with the models that represent themselves, which is independent of its static or dynamic status. This “iconic variability” can be roughly understood in two ways: maximum iconicity, understood as the condition of realism or representativeness; and by the opposite way the null iconicity or abstraction.

Drawings made by people with visual impairments are representations from mental images generated according to memory and imagination. These are based on information obtained from and stored by the perceptive mechanisms of the haptic system. They would classify as still images and have the ability to become effective haptic designs in the transmission of information for those specific users. On the other hand, haptic graphic designs would belong to a hybrid category between still and static since they already possess qualities of both. They have the tactility and volume from static images -by high relief-, however, are determined to a two-dimensional surface, flat and lasting, and also its existence is submitted to the substrate itself (still images). In terms of its iconic variability, haptic graphic design is closer to a high degree of abstraction.

III. HAPTIC GRAPHIC DESIGN?

From the perspective of the research I have been doing, haptic graphic design, can be defined as an innovative and transformative line of design, that aims to facilitate the access to information by means of embossed images, primarily designed for people with visual impairments,(direct users of this innovation). Its purposes: to generate haptic images embossed

228 Senses&Sensibility’13 that facilitate visually impaired persons the access to information in an easier and more intuitive manner by means of active touch; that does not require too much effort nor a thorough prior learning, these does not use visual reference points and paradigms as a starting point and that in addition, it is based on an active participation of the user and is centered in itself. Haptic graphic design is based on complex and meaningful information that provides haptic perception to the brain. As mentioned in previous paragraphs, it has been conceptualized and conducted on the basis of cognitive constructions and mental images generated by means of the information that is obtained from this type of specific perception, which is developed with greater ability by persons with visual impairments.

When a person with visual impairment perceives any object using haptic perception (also defined by some authors as active touch) acquires significant data and information that enables to build a complete mental image in the mind, up to the point where the person is even completely capable and competent to represent it by means of a drawing, even in the case of congenital blindness. Therefrom derives the importance to deepen in the understanding of graphical representations by means of drawings, that visually impaired persons are able to perform and serve as the basis to build the haptic graphics designs based on the sketches or diagrams generated by them. These representations generated by visually impaired persons constitute the central foundation without which, from my point of view, it would be impossible to create any type of effective and communicative design for this kind of users.

IV. DRAWINGS MADE BY PERSONS WITH VISUAL DISABILITIES: AN OBLIGATED LINK FOR HAPTIC GRAPHIC DESIGN

Throughout the research I have discover that the visual representations to which we are accustomed to, and have socially accepted, are completely ineffective to be translated in an embossed way pretending to be designs for visually impaired persons or touch designs, and as such, should be identified by them by touching and exploring. Moreover, they result inoperative in the transmission of information. These often imply that visually impaired persons have to learn complex preset codes, sometimes require explanations or exhaustive descriptions and greater effort invested by the user.

Haptic graphic designs should be representations that contain the basic relating elements which the haptic sense has provided them by touching the object and which have allowed

Senses&Sensibility’13 229 them to form a mental picture of said object. For example, in the case of a tree, when a visually impaired person explores it, uses all of its perceptive trained systems and discovers that the tree has a trunk, branches and leaves; in addition to its texture, smell, thickness, size, and even flavor. For purposes of this study, by actively touching any object, space, animal or person, it produces a clear and significant mental image of it, to the extent that its pictorial representation is possible even if the person has never seen it before.

Therefore, when working with visually impaired persons it is possible to understand for example, that the fact that the representation of a tree has a trunk, branches and leaves as any tree has, it is essential to enable them to identify it. Notwithstanding the above, it is not sufficient to understand solely that the representation of something must originate from its elements that essentially form it, but also it is imperative to incorporate those representations or drawings that persons with disabilities are able to perform from objects they have already touched. They add the information they have collected through the haptic system and the mental images that have been formed in their memory thanks to the haptic system. These statements are the result of an arduous process that I have been doing with a large group of blind persons (congenital and acquired), low vision persons and even blindfolded normovisuales (sighted). Thanks to this work I was able to discover how this process should emerge.

A series of haptic drawings were made at the beginning of my research in this area, in order to assess whether these were able to transmit the information to the visually impaired persons in the way in which the theory had explained. According to Julio Lillo Jover [2] a haptic drawing is the tactile representation in prominent or high relief of any object (embossed). The latter can be perceived both by the sense of touch as by sight and are a tool used frequently in the rehabilitation of visually impaired persons when working on developing tactile skills. It should be noted that this is a process of “mirror” drawing since the image to be drawn on the front surface, will appear inverted and in prominent or higher relief on the other side of the sheet or plastic foil.

In a first stage of the research I developed three haptic drawings with this technique using three letter-sized sheets of acetate. On one of the sheets I drew, based on the technique described by Lillo, a rectangle in high relief (12.5 x 4.5 cms.) and a square in low relief (4 x 4 cms. ).On the second sheet I drew only a circle of 11 cm in diameter; and on the third sheet I drew an arrow (of approximately 6.5 cms in length), a circle (of 5 cm in diameter) and an “abstract” figure

230 Senses&Sensibility’13 of what (from my point of view) was a tree, (approximately 9 cm high) [4].

These haptic drawings were explored in a first phase of qualitative research, by persons with visual disabilities: congenital and acquired blindness. When performing this experimental exercise, I discovered among many other things, that the geometrical figures are easy recognizable by visually impaired persons or persons with visual disabilities, that the prominent or high relief is more significant than the lower relief and also that “my tree” not worked at all, since it did not convey them anything, because in their own words: the trees are actually not like that in nature.

Then, a person affected by congenital blindness, spontaneously (and to my absolute surprise) carried out two drawings: one of a tree, and another of a dog, according to what for him was a graphical representation of them, based on the tactile knowledge he kept in his memory. It is worth mentioning that the tree drawn by him, was significantly different from my drawing, which was now the visual reference I had and which had never been questioned throughout my life since I had learned and accepted it very early on.

One of the most important lessons that I obtained back then, was that the haptic and graphical way in which the concepts for persons with visual disabilities should be represented totally different from how the objects are visually and graphically symbolized by normovisual /sighted persons; proving that the formal representation of the objects between persons who see and those that do not, must be changed significantly.

Based on the above, arose the discovery that haptic designs should be based on references and meanings important for people with visual disabilities and not from the proposed by the alleged visualista paradigm. The drawing of the tree made by Miguel Cano is highly revealing and blunt in this regard. This confirms that all objects have specific characteristics that allow its discrimination from every other, and that in addition, they must be translated into shapes, lines, performances and compositions that are essential in the field of haptic recognition.

Starting from this idea, arose the concern to verify if drawings made by visually impaired persons would be the basis to sustain a haptic graphic design. In other words, if their graphical representations are more successful than those from the top visualists when applied in haptic graphic designs, since the visually impaired persons represent in their drawings forms of objects completely different to what we normovisuals are accustomed to, without much synthesis, reduction and abstraction of elements.

Senses&Sensibility’13 231 Basically, the form represented and built by them on the basis of the information extracted by exploring a particular object, is essential (both in the mental construction of the object, as in the same graphical representation); what subsequently allowed to evidence if the form expressed by a congenital blind person in a drawing and subsequently designed in prominent or high relief, could be recognized by active touch with greater ease and with a greater degree of identification.

Fig. 1. Haptic graphic design of a tree, made from a drawing of a person with congenital blindness.

The obtained results are widely explained and detailed in my PhD document, the perception and its importance in the generation of a haptic design for persons with visual disabilities [4]

VII. CONCLUSION

As briefly shown in this document, in order to develop the haptic graphic design for people with visual disabilities, drawings are always an excellent tool of representation and provided that is not done based on the point of view of the visual paradigm or on references and conventionalisms to which normovisuals are so accustomed to. Drawings are an effective strategy for both people that can see and for those who do not, which allows us to communicate and externalize those mental images that provoke the understanding of reality based on our

232 Senses&Sensibility’13 systems of perception. On the other hand, without the drawings embodied by blind persons or people with visual disabilities and without a design work with these people it is inoperable haptic designs appropriate graphs and sufficiently informative.

Haptic graphic design is a line of design research with a wide potential that, from my point of view allows to generate information and knowledge for the people with blindness and visual weakness; provided that the following is acknowledged: a) the value and potential of visual impaired persons or people with visual disabilities in the generation of these designs; (b) the extraordinary and enriching qualities of haptic perception in both generating cognitive processes for the appropriation and knowledge of the world; and c) the importance of the mental imagery and its representations arising from the previous point, as these proves to be the sine qua non material to accomplish this design.

So, drawings that people with visual impairments are capable of perform, are a strategic and imminent link in the generation of a haptic graphic design that allows them access information in a more inclusive, easier intuitive, effortless manner, that can reach characteristics of universality and that do not require learning a specific or preset code

The potential of applying the haptic graphic designs is very important in the access to information to blind persons and visual impaired persons , since these could be used in different media such as the design of signals, editorial design; packages, containers and labels; maps for architectural spaces, urban development maps, transport and cartographic maps; museography, and also in teaching materials, so, this type of design could be implemented simultaneously in any media that requires visual information without forgetting that its implementation along with Braille system would result in an excellent bi-media system, which would have the potential to generate information and knowledge at the same time, in addition to other benefits detailed in this document.

One last thought lies in the importance of recognizing the tremendous value of design focuses on and with the user, and that this is a mandatory responsibility to all of us that work with any discipline of designs. This method provides a tremendous amount of knowledge due to its multi- and interdisciplinary content. At the same time, it allows designers to recognize ourselves as instruments, interpreters and mediators between the needs of users, customers and the results they expect from us in order to facilitate greater and better quality of life through design.

Senses&Sensibility’13 233 REFERENCES

[1] Costa, J. (July2009). La física de la comunicación visual. Tiempo de diseño, México. Universidad Autónoma Metropolitana Azcapotzalco. Año 4 No. 5 Pp. 68-75. ISSN: 1870-0829.

[2] Lillo Jover Julio (1992) “Dos Mitades de un Mismo Barril: Potencialidades y Limitaciones de los Dibujos hápticos” Anales de Psicología, 8(1), 103-112. Disponible en: http://dialnet.unirioja. es/servlet/autor?codigo=119660

[3] Loomis, A. (1980). Ilustración Creadora. Argentina: Librería Hachette.

[4] Martínez de la Peña Gloria Angélica (2009) “La percepción y su importancia en la generación de un diseño háptico para personas con discapacidad visual”. Tesis doctoral. México: Universidad Autónoma Metropolitana Xochimilco CYAD.

[5] Romera A. Juan y Lorca S. Juan Antonio (s/f) Reflexiones didácticas sobre las imágenes y las tecnologías. Consultado en: Nuevas tecnologías en la formación flexible y a distancia http:// tecnologiaedu.us.es/edutec/paginas/97.html Fecha de consulta: 11 noviembre 2010.

234 Senses&Sensibility’13 Audiovisual Design: Sound, Visual and Verbal Matrixes in Complex Signs

Raquel Ponte, Lucy Niemeyer ESDI-UERJ, Rio de Janeiro, RJ, [email protected], Brazil

Abstract — Audiovisual design is composed of the three matrixes of language and thought set by Santaella – sound, visual and verbal. Such matrixes are expressed in moving image and sound. Based on Peirce’s semiotics, this article aims to understand audiovisual design products as complex signs, which represent concepts established in the briefing – their object – and generate effects in the receiver´s mind – their interpreter. As a sign they can represent the object only partially and not in all its aspects. The fact that they are constituted by three matrixes results in a hybridism that makes possible a richer knowledge of the object by collateral experience.

Index Terms — Audiovisual Design, Matrixes of Language and Thought, Peirce, Semiotics.

I. INTRODUCTION

Audiovisual design creates a product composed of moving image and sound, whether sound effects, music or the spoken word. Besides that, there is a verbal element, since it is materialized in sound – the spoken word – and a visual element – written text or logos. The interrelationship between sound, visual and verbal elements forms the main characteristic of this type of design. Its analysis, therefore, becomes more difficult, as the interpretation of sound, visual and verbal elements occurs precisely through dialogue between them and not through each one individually.

Based on Peirce’s semiotics, this article aims to understand the products of audiovisual design as complex signs, which represent concepts established in the briefing and generate interpretants. As a sign they stand “[...] for that object, not in all respects, but in reference to a sort of idea” [1]. The fact that they are constituted by the three matrixes of language and thought set by Santaella [2] – sound, visual and verbal – allows a hybridism that makes our knowledge of the object richer. The first two matrixes (sound and visual) are associated with the most prominent human perceptions – 75% of human perception is visual, while 20% is hearing [3]. Their inter-relation with the verbal element, which has great power to rationalize,

Senses&Sensibility’13 235 categorize and interpret the information gathered by the senses, brings a great communicative power for this type of design.

Having emerged from the cinema and television, audiovisual design is increasing in application with the development of media convergence. The tendency is an increase in the designers´ labor market, which creates the need to reflect critically about how the generation of meaning occurs in an audiovisual medium.

II. AUDIOVISUAL DESIGN

Being an eminently visual animal since the beginning of civilization, the human being created static images through painting in the caves. The first optical inventions [4] which aimed to simulate movement were developed in the seventeenth century, while the setting of moving images could only occur in the late nineteenth century with the cinematographer, which depended on the discovery of photographic technique.

Until the late nineteenth century, there was no way to record sound on physical media. Thus, it depended entirely on its production source. Fixation dates from the late nineteenth century and was largely developed in the twentieth century. “Despite the fact that audio technology has been available for more than 100 years, its use has not reached the level of perfection of visual technology”[5].

In 1927, the first film with synchronized sound was launched. After this debut movie theaters were never the same: there was a huge increase in the number of theaters with speakers. Parallel to this development, another medium of audiovisual diffusion emerged: television. The research into its technology also began in the late nineteenth century. The American channel NBC (National Broadcasting Company) was the first television network in the world, in 1926. But it was after the Second War, because of investment in an infrastructure of communication, so important to the period of war, that television could spread across the globe.

Audiovisual design has therefore been widely used by the two main media of the twentieth century. In films, one of the pioneers of the opening vignettes was American designer Saul Bass (1920-1996), who created animations which synthesized the concepts of the films. Another form of audiovisual design used in films was animated vignettes of the trademarks of distribution companies and film studios.

On television, especially after the use of computer graphics mainly in the 1980s,

236 Senses&Sensibility’13 audiovisual design transpires in identity vignettes [6], in the opening vignettes of programs and in infographics. However, it is no longer restricted to the media that originated them. “The film credits represent the beginning of a new language currently explored in television, video, computers and many other electronic devices” [7].

After the widespread use of computers and personal gadgets and the possibility of transformation of analog signals into digital data, it is clear that the different media are approaching and overlapping. From the moment that we can access internet on mobile, web on television, movies on the computer, we see the enormous potential that arises for audiovisual design. With the convergence of media that has taken place, the use of moving images associated with sound becomes increasingly common and even expected. Billboards give way to high-definition screens and each person, on the device he/she wants, has at his/her disposal access to innumerable pieces of audiovisual design that seek to extract the maximum expression of the relationship between sound, image and text.

III. AUDIOVISUAL DESIGN AS A COMPLEX SIGN

To Peirce, a sign “[…] is something which stands to somebody for something in some respect or capacity. It addresses somebody, that is, creates in the mind […] an equivalent sign, or perhaps a more developed sign” [8]. This explanation shows that the sign constitutes a triad: a representamen (a sign in itself), an object (which the sign represents) and an interpreter (an effect in an interpreting mind). This ability of representation, however, is limited, since the sign only stands for the object; otherwise it would be the object itself.

Pieces of design can be understood as signs as they present the correlation between these three elements. They materialize in a representamen, i.e. something that can be perceived as images, sounds, texts. They represent an object, generally a concept which needs to be conveyed (in the case of a identity vignette, for example, the brand concepts of the channel [9], in the case of an opening of a series, the main idea of the program or an anticipation of the subject, and in the case of an animated trademark, the concepts of their brand). And they generate interpretants: a certain piece of audiovisual design seeks to generate a certain effect in the target´s mind, typically creating a positive experience to involve the audience in the concepts being represented.

One of the elements that characterize audiovisual design is the particularity of its

Senses&Sensibility’13 237 representamen composed of smaller signs. Pieces of design have visual images and sounds, which can be decomposed into more fundamental elements. The images are composed of shapes, colors, textures, lines, points etc. All these signs also seek, by articulating themselves together, to communicate the concepts intended. Sounds can be manifested in music, sound effects and the spoken word, each consisting of durations, timbres, heights, rhythms etc. For this reason, we understand pieces of visual design as complex signs.

Lucia Santaella [10], based on Peirce’s semiotics and phenomenology, proposed that language and thought (inseparable one from each other) are based on three primary matrixes: sound, visual and verbal. The first stems from the sense of hearing, the second, from the sense of vision, and the third, from people´s faculty of verbalization. The author states that only sight and hearing, as senses of human perception, create languages, unlike touch, taste and smell.

In pieces of audiovisual design, the verbal matrix is intrinsically connected to sight and to sound, since it is expressed in a written text or the spoken word. And it has a different characteristic from the other matrixes: it is conventional, that is, it depends on the target audience dominating its code for its understanding. While a song or a picture has some conventionality (a musical style has an internal order that characterizes it and an image of a musical code also need its learning to allow its understanding), the sound and visual matrixes enable a greater range of interpretation than verbal signs.

The differences between the matrixes is what enhances audiovisual design pieces, because they can give different weights to each of them according to the need for communication. And the interrelationship between them will increase the possibility of getting to know the object represented. Although sight is our dominant sense, “Audio does not work depending on the image, it acts like the image and at the same time as it does, providing information that the receiver processes in a complementary manner due to his/her natural tendency to perceptive coherence” [11]. And, as Merritt [12] wrote, “[...] the simple experiment of turning off the sound from even the most powerful sequence of graphic animation will reduce the effect, or hide the mood and purpose, to an unacceptable level”.

IV. THE INTERRELATIONSHIP OF THE THREE MATRIXES IN A CASE

To clarify the theory exposed, we chose to analyze Gloob channel´s identity vignettes, in order to evaluate the interaction between these three matrixes. This analysis is not intended to

238 Senses&Sensibility’13 be exhaustive, covering all possibilities of interpretation, but seeks to present some examples in this vignette that make clear the use of visual elements, sound and verbality as a way to increase its communicative power.

The pay-TV channel Gloob was created in 2012 by Brazilian producer Globosat. Directed to children, it proposes a television identity consistent with its target. In the identity vignettes, we can see how all the elements present in their representamen are articulated in order to enhance the brand concepts of the channel (see the compilation of vignettes that make up this identity http://vimeo.com/43954834).

Fig. 1. Frame of Gloob´s identity vignette (2012).

From a visual standpoint, we can see that the logo of the channel, a central element of the animations, has saturated colors, rounded shapes and smooth texture, except for the second vignette that appears pixelated referring to the universe of games, and for the vignette in which letters resemble kites. This possibility of mutation, changing design features [13], makes logo applications more playful, when transmuted into elements of childhood. The gray background is neutral so as not to interfere with the logo colors, intensifying their appeal.

From the standpoint of sound, we can see that there is a combination of music, a lot of sound effects and the spoken voice. The songs always sound cheerful, at a fast beat, sometimes in a circus style, except for the second vignette, which, with the pixelated logo, has tones of synthesizers to enlarge the mood of a digital environment. Added to the music, we can hear sound effects synchronized with visual elements, such as the sound of the association and subsequent bursting of soap bubbles in sync with the image of bubbles bursting and joining. Or the sound of the wind hitting objects when they enter the kite letters. The vocalization of the channel name is always made by children›s voices, either individually or in groups, in a cheerful

Senses&Sensibility’13 239 vocalization between a statement and a call. During the animation we can also hear squeals of joy, which together with the letters on the move, embody the typography. Especially in the vignettes in which the letters rise on each other and in the vignette of the movie, the letters of the logo become children playing because of the process of synchronization.

The strong interaction between the visual and the sound matrixes, and the composition of sound and image as a unit instead of separate parts stem from the need for consistency that our perceptual system seeks to establish between the various simultaneous perceptions. This occurs because the senses never function in isolation: hearing, sight, touch, smell, the motor sensations, among others, perceive external stimuli simultaneously. «Not only do we see a car approaching, but we also hear its engine and noise of its tires, and feel the smell of gasoline burning, and we realize that the noise becomes more intense and more precise» [14].

This physiological characteristic promotes the perception of the phenomenon of audiovisual synchrony. It occurs when there is a coincidence in time between acoustic oscillations and certain visual changes. As our body, over years of perceptual learning, has learned that a change in the sound source is linked to the variation of the sound, an immediate association happens between sound and object when they sync, even if the object is not its natural sound source. This is because «[...] it is highly unlikely that the beginning and end of a sound phenomenon coincide exactly in time with the beginning and end of a visual phenomenon; only by coincidence is this possible» [15].

Synchrony is a phenomenon that highlights both the image and sound when they occur simultaneously. In a motion picture, with a number of elements in action, there is usually a tendency to select those of large dimensions or those that occur in the foreground. However, by associating a sound to one of these elements, between the various points of attention of an image, it underlines that figure. Even a tiny spot in the background has its effect highlighted if synchronized with sound. Likewise, in a composition of sound effects or a song, where different sounds that occur in time, a specific one in sync with an image will attract more attention. When there is extreme use of sync, it is given the name mickeymousing effect, a reference to these animations [16].

From the point of view of verbal elements, we realize that the only one present in the vignettes is the channel name that comes to life in animations and is chanted by the spoken voice, strengthening the brand. But we must not understand the verbal matrix only as text

240 Senses&Sensibility’13 and spoken words, but also as discourse imbued with time [17]. Time thus runs through all three matrixes: in verbal speech, in sonority as the sound alternate during a period of time, and in the moving image, since they occur in time. As Krasner [18] says, «[...] timing is sensed by the eyes as well as by the ears.»

The camera movements – pans, when the camera moves on its own axis, and travelings, when it moves on a path – or their simulations by computer programs, and the speed at which they move influence the perception of time. The edition also contributes to the temporal sequence of images. The faster it executes the cuts, the greater speed we perceive. The types of transition between scenes can emphasize a chosen rhythm: fades (in, when an image appears gradually, and out, when you it desappears) and mergers (when a scene merges with another, the first of which fading at the same time as the other is emerging) are slower transitions then hard cuts, which are more abrupt.

In Gloob´s identity vignettes, there are two options for camera movement. In the first vignettes, the camera stays almost still in a counter-plongèe, while the elements move in front of it. In the last three, the camera follows the movement of the letters, which enhances the dynamism of action. There is also a counter-plongèe viewpoint which makes the image idealized as we see it from bottom to top.

We realize, therefore, that Gloob´s audiovisual design pieces, even if we are not explicitly told so, can convey the message that it is a kids’ channel. We can perceive it if we listen to the audio track independently of the images or we see the animation without audio. In these two matrixes, in which the verbal element is included, the identification of the brand’s concept is immediate. In the sound matrix, cheerful children›s voices associated with the playful and lively soundtrack and sound effects that relate to a child’s universe (soap bubbles and «poings» and other sound effects closely linked with animation style) make the brand positioning clear. In the visual matrix it is the same: the cheerful colors of the logo, camera placement and animation of letters performing playful actions (climbing each other, flying kites, jumping clinging to a vine, balancing on a tightrope etc.) show that it is a children›s channel. It should be emphasized that the verbal matrix is also present in the discourse of these actions.

When we have a complete perception of the vignettes, this access to brand´s channel becomes even stronger. The various audible, visual and verbal signs which form the

Senses&Sensibility’13 241 representamen of these design pieces complement, reassert and reinforce each other, thus increasing communication.

V. CONCLUSION

We can notice, by analyzing Gloob´s identity vignettes, how the relationship between the three matrixes of thought and language proposed by Santaella occurs. As we realize the potentiation of communication in this specific case, we can understand that it also occurs in other forms of audiovisual design applied to the cinema, television or web. In fact, the barriers between the various media tend to be dimmed with the convergence of media, which will promote an increase in production in the audiovisual design field.

What we have not been observing is a substantial change in the training of designers, since there is little literature available regarding audiovisual design and much of the education in Visual Communications – whose name still prioritizes the matrix of visuality – has not yet developed an inquiry into the relationship between image and sound in its curriculum. The relevance of this research is to highlight the main characteristics of audiovisual design to develop a reflection about the specificities in the creation of an audiovisual project: a project that encompasses the three matrixes of language and thought, in order to reach the maximum potential of significance.

REFERENCES

[1] C. S. Peirce. The Collected Papers of Charles Sanders Peirce. Electronic edition. Virginia: Past Masters, 1994. Disponível em: . (CP, 2.228)

[2] L. Santaella. Matrizes da linguagem do pensamento: sonora, visual, verbal. São Paulo: Iluminuras, 2005.

[3] L. Santaella. A percepção: uma teoria semiótica. 2. ed. São Paulo: Experimento, 1998.

[4] J. Krasner. Motion graphic design & fine art animation: principles and practices. Oxford: Focal Press, 2004.

[5] M. Lindstrom. Brand sense. Porto Alegre: Bookman, 2007.

[6] R. Ponte. Reflexões sobre o processo semiótico da identidade televisiva: o sonoro, o visual e o verbal nas vinhetas. 2009. 210f. Dissertação (Mestrado em Design) – ESDI-UERJ, Rio de Janeiro, 2009.

242 Senses&Sensibility’13 [7] L. F. Las-Casas. Cinedesign: a research method applied to audiovisual typography and graphic design in motion pictures. In: Congresso Brasileiro de Pesquisa e Desenvolvimento em Design, 8., 2008, São Paulo. Anais. São Paulo: 2008. p. 2146-2155.

[8] C. S. Peirce. The Collected Papers of Charles Sanders Peirce. Electronic edition. Virginia: Past Masters, 1994. Disponível em: . (CP, 2.228)

[9] R. Ponte. Reflexões sobre o processo semiótico da identidade televisiva: o sonoro, o visual e o verbal nas vinhetas. 2009. 210f. Dissertação (Mestrado em Design) – ESDI-UERJ, Rio de Janeiro, 2009.

[10] L. Santaella. Matrizes da linguagem do pensamento: sonora, visual, verbal. São Paulo: Iluminuras, 2005.

[11] Á. Rodriguez. A dimensão sonora da linguagem audiovisual. São Paulo: Senac São Paulo, 2006.

[12] D. Merritt. Television graphics: from pencil to pixel. New York: Van Nostrand Reinhold Company, 1987.

[13] R. Kopp. Design Gráfico Cambiante. Santa Cruz do Sul: EDUNISC, 2004.

[14] Á. Rodriguez. A dimensão sonora da linguagem audiovisual. São Paulo: Senac São Paulo, 2006.

[15] Á. Rodriguez. A dimensão sonora da linguagem audiovisual. São Paulo: Senac São Paulo, 2006.

[16] M. Chion. Audio-vision: sound on screen. New York: Columbia University Press, 1994.

[17] L. Santaella. Matrizes da linguagem do pensamento: sonora, visual, verbal. São Paulo: Iluminuras, 2005.

[18] J. Krasner. Motion graphic design & fine art animation: principles and practices. Oxford: Focal Press, 2004.

Senses&Sensibility’13 243 Editorial Design in Translation from Portuguese to BSL

Renata Krusser Pós-Graduação em Estudos da Tradução. Universidade Federal de Santa Catarina (UFSC); Instituto Federal de Santa Catarina, Florianópolis, SC, [email protected]/88062-010, Brasil.

Abstract — Concern with design in the translation of written texts between languages with the same writing system is not relevant since the physical form is similar. However, the translation of a text in Portuguese into the Brazilian Sign Language (BSL) implies changes in language and in the reading form. They are actually two languages with different modalities which require the translation of interlinguistic contents. An intersemiotic translation from an oral/audition modality to a visual/spatial modality and from a writing system to a moving image system is also needed. Any change in form interferes in the reading and affects meaning. Although traditional studies on typography are abundant, investigations on the reading of texts in sign language are rare. This study aims at identifying criteria in order to develop a design model for bilingual teaching materials on the campus Palhoça Bilíngue (Libras/Portuguese) of the Santa Catarina Federal Institute (IF-SC). To that end, a comparative analysis was carried out involving typographic design theories, video language and Brazilian Sign Language (Libras). It was sought, through bibliographic research, references for the analysis of the elements of typographic design besides their different contributions to provide a fluid and pleasant reading. Then, relations from these elements were established with video production and sign language characteristics, thus identifying elements that may be explored so as to perform equivalent functions, promoting therefore reading in sign language.

Index Terms — Ceramics, coaxial resonators, delay filters, delay-lines, power amplifiers.

I. INTRODUCTION

When designers conceive a publication layout, they have to maintain the legibility of the text, hold the interest of readers and valorize the author´s words, organize the structure and hierarchize the contents, plan the integration of the text with complementing and consistent pictures, provide the readers with concentrated involvement and a rhythm of pleasant reading. Designers, therefore, work with great care to determine the several factors of typographic

244 Senses&Sensibility’13 design. When a composition is re-formatted, new relationships are established between contents, different associations are set up and meaning is affected.

The devices, that traditional and literary linguistics tend to discard, such as spacing, structure,

punctuation marks, type, style and layout, now have a potentially ‘transforming’ function in the articulation of meanings. The re-formatting of a complex visual rehearsal boils down to a change in what it ‘conveys’ within a certain aspect (Poynor in Lupton; Miller, 2011, p. x). [1]

A highly radical change in design occurs when a written text is presented by an interpreter on the video. The publication form, text relationships with other elements, the reading act and the concept of reading are changed. In other words, a transformation occurs in the general idea and in the feelings that the object transmits. An analysis of the elements of editorial design may be useful to understand the set of significant elements in a publication.

II. THE TRANSLATION OF DESIGN

The idea of translation may be related to the characteristics of the design´s project. A literal translation (if that is possible) would translate a topic from a language into another, word by word. We may reproduce the visual elements in a design in a like manner, even though it would turn up to be incomprehensible. The design would become unreadable or insignificant. We may also conceive translation as something that should be imperceptible as if the text had been conceived in the target language. [2] A hearty discussion in editorial design deals with the issue of the design´s invisibility, when the author´s words are intended to be revealed without pinpointing the form of the text. Several studies in traditional typography aim at a common, usual and precise style which is so adequate to the object that it becomes imperceptible. As any foreign word may jeopardize the fluency of reading, a highlighted typographical detail may misdirect attention on the contents. On the other hand, a translation that tries to enhance contact between different cultures and reveal regional nuances may have the original text as its focus. It may cause intentional uncanniness. Design may also provoke, instigate, mark an identity, surprise and influence ideas. [2] [3]

Translation may be conceived as a project that comprises interlinguistic and intersemiotic translation. Publication aims and the concepts that it intends to transmit should be thoroughly known. Further, strategies that focus the valorization of human experience should be organized, coupled to the user´s satisfaction in the act of reading. [4]

Senses&Sensibility’13 245 III. VISUAL IDENTITY

The graphic project reveals the message´s contents and meaning. We may try to maintain the visual identity of the original material in the translation of a text written for a signal language, even though this feat is not achieved by the mere transposition of graphic elements, images, colors and spaces. Positions and proportions may make reading unfeasible and signs indecipherable if an interpretation window is inserted to substitute the text. Colors may be too faint for an efficient contrast if, for instance, the interpreter has fair skin. Besides, the insertion of a moving image calls our attention and would transform the composition through the alternation of visual weight of the elements and the relationship between them. When the text is replaced by a video, the publication structure will be revised if we want to maintain reading identity and fluency. We may also decide on not maintaining the visual identity of the original publication. This is what we often find in translations into Sign Language.

The perception of deafness not as a deficiency but as cultural and linguistic difference is currently highly notorious and deaf people organizations have achieved a lot in their right for access to information in sign language. However, bias, lack of knowledge and scarcity of proper policies still cause the isolation of deaf people from a healthy community and jeopardize their intellectual and emotional development. The history of deafness reveals the assistentialist and medicinal gaze, while the power relationships that establish themselves from the hegemony of oral languages have always been cruel to these subjects. So that change occurs and wholly accessible materials would be planned, it is highly important to know deeply deaf people´s preferences, their visual way of direction in the world and the political moment they live in. [5] [6] A highly valid option may be a translation project that intentionally puts first place the visual characteristics of the target language and transmits the visual identity of the original publication to valorize deaf people´s culture.

IV. FORMATTING

Size and formatting of a printed publication are planned to give ease in its handling, to provide better usage of paper and to establish a reading rhythm according to the contents and type of publication (books, newspapers, magazines, theses and others).

Books were originally manufactured for oral public reading. Later, when they were impressed and reproduced in large quantities, other factors were taken into consideration at the level of

246 Senses&Sensibility’13 the editorial project. Due to current digital possibilities, the author, the publishing house and the designer should take into consideration the different stances that will be employed to have access to books. Consequently, several hypertextual elements start to be incorporated in the design. Magazines are different from books and this difference is not merely based on contents. We do not open a magazine on the first page and read its whole contents up to the last page. We normally give it a quick glance; we read certain sections or the headlines and return to the contents that interest us. Later on we move to other texts. Design intentionally affects reading and meaning. A scientific journal is visually different from a popular science magazine. A book design for a long, thick reading is different from a newpaper´s design.[7]

The reading flow of printed matter is highly dynamic. The reader may take a glance at the page, observe an item during a longer period and change focus, without any great effort. A Sign Language text is read on the screen. The handling of the object is very different and the reading milieu and the reader´s physical position are very different.

The rhythm of the translated material is marked by interpretation and not by the dynamic rhythm of the reader´s interest. The non relevance of any part of the text or the difficulty in understanding any given idea may be an inconvenience within the reading flow. The reader makes advances, delays, stops or localizes items on the video and not merely to change the gaze to review a point of interest or to quickly scan parts of the text.

If the page with signs contains pictures and other visual elements simultaneously with the text interpreted in sign language, the change of gaze may cause the loss of certain contents. The planning of pauses in the interpretation may be required. Planning should be well prepared since text interpretation may confound the readers and distract them from reading. It is highly important to test the rhythm with different deaf readers. Sign Language is generally processed by the left side of the brain, similar to oral languages. However, deaf people have a greater acuteness in peripheral vision than hearers and this characteristic should be taken into consideration in sign language editorial projects. Moreover, evaluation by deaf people is highly relevant. [8] [9]

If pictures are provided with the interpretation, some interaction resources, such as the magnification of pictures or stopping of the video, may be useful. If pictures are provided after the interpretation, a planning that would guarantee the integration of text and pictures as mutual influences, may be mandatory.

Senses&Sensibility’13 247 The organization of information and navigation structure is different from that common to the printed or digitalized material. The turning of a page by the reader may be an absurd thing for a Sign Language reader. Clicking for the interpreter to resume reading at unexpected instances may be a meaningless act. It may, however, be essential that visual elements indicate the passing of time and show constantly its position. Readers will thus perceive their development.

In spite of the existence of Sign Writing for writing Sign Language, the system is only scantily used and many deaf people do not have the required fluency in written Portuguese. Since deafness culture has been compared with the culture of non-literary societies, they require high transparency in the organization of information. Planning navigation is important so that readers may easily and quickly ‘handle’ the material and pinpoint the required topics. [10]

Isolated from the daily conviviality of other Sign Language readers, many deaf people have a very limited vocabulary and some publications provide a glossary of terms preceding the text or include links throughout the interpretation with information annexed to the original text. Inclusion of pictures, videos and cartoon-like images are interesting to supplement the original text or to replace verbal information by visual elements.

The empty space in a composition is as important as the graphic sign. Designers keep the distribution of spaces, their forms and shapes, and take care to lead the gaze and to avoid any feeling of disorder. In printed material, the margins are useful for the handling of pages and for the gaze´s concentration on the text. The text is separated from the surrounding milieu which may distract the readers´ attention. Margins are used to write notes, place enhancements or pictures. In books, they are used by readers to insert notes and signs. A Sign Language video inserted within virtual milieus requires planning on how it will be shown, taking into account window size and background colors. Designers may not have control on how and where the reading material will be presented but they have to consider the possibilities that it would be available in milieus with other texts and surrounded by different information and visual resources. Interpretation space will also be planned carefully so that movements would not be limited or parts of the signs clipped.

The tools that make possible adjustments in size and color manipulate the reproduction speed on the video and the insertion of signs and notes in the video are highly important when materials for Sign Language are concerned.

248 Senses&Sensibility’13 V. TEXT COMPOSITION

Text blocks produce textures and establish a landscape that may be planned to differentiate some contents from others and compose dynamic and organized pages. Text linings (left, right, centralized or justified) and lining between texts and pictures help the reading flow and may transmit the feeling of order or disorder. So that relationships could be established and styles maintained, designers normally use grids (templates with regular or irregular lines) that guide diagramming.

The distribution of text blocks establishes a rhythm comparable to music, as reported in classical studies on typography. Text organization in long narrow columns gives a feeling of speed and favor fastness, albeit non-dept reading, whereas a wider text column is adequate for a more reflexive and deeper reading. Line width may also agree with the inter-line spacing. If the column is wider, spacing will greater and avoids jumping a line when passing from one line to another. Studies on typography aim at exploiting space and are concerned with highly specific details so that reading could be a comfortable activity.

Any length of line with 45 to 75 characters is normally acknowledged to be adequate for a one-column page composed of type and text size. The 66-character line, letters and spaces, is generally considered an ideal one. In multi-column texts, another medium with 40 - 50 characters is better. If types are well-composed and impressed, 85- or 90-character lines may be employed without any problem for discontinuous texts, such as references or footnotes – the latter with large spacing between the lines. However, lines averaging higher than 75 or 80 characters will probably be too long for continuous reading. The 40-character line (48 in Portuguese) is a practical minimum average for justified texts in English (Bringhurst, 2005, p. 34). [11]

Choice of type is basic. Fonts for reading prints are abundant while others are proper to screen reading. There are fonts specifically for titles and headlines whereas others are used for very small print. The choice of a proper font requires subtle knowledge in design with the testing of text configuration and printing in different sizes and spacing.

The great variety in the available typographic families makes choice very difficult and many designers prefer a small variety of selected types and use them constantly for normal texts. Experimentation is thus restricted to title styles, page numbers and information on the first and

Senses&Sensibility’13 249 last pages. [12] [13]

The design of the printed text for ‘listeners’ provides sound sensations such as intensity, tone and timbre, and varies according to font type, size, style, color and page layout. It seems that a bold font features a bass tone whereas a capital letter font represents shouts.

However, not all these details may be related to Sign Language when a text is translated, nor everything that underlies reading rhythm may be left to interpretation and prosody. Cuts and changes in planning, interruptions during interpretation, alternations between pictures and texts, color and background changes, underscoring with the insertion of graphic resources or hypertexts at specific instances, camera movements, angle modifications and the relationships of the interpreter with other factors may also be exploited. A detailed script should be developed to avoid that transitions would undergo continuity problems.

The imagetic characteristics of Sign Language should also be taken into account. Differences in the printed text, visually homogeneous, and the spatial distribution of information in BSL should not be underestimated by the designer. Sign Language organizes information in space and retakes these places in the text. If an object is placed at the right, it is necessary that the interpreter always looks at it when mentioned. SL exploits video language strategies such as changes in plans (linguistic/visual recourses to talk about a detail at close quarters or about a wide landscape) and camera movements (gaze direction). [14]

In the case of the video, the interpreter´s behavior, expression and style are defined by ‘reading’. Research on SL interpretation, including gender issues, formality or informality, the overlaying of visual information, omission or addition cases, acquire great importance in Translation Studies. In fact, they reveal the importance of adequate and specific planning for each project comprising linguistic issues, visual aspects and the interpreter´s attitudes.

VII. CONCLUSION

Current study identifies several graphic resources and computer tools that may contribute towards a comfortable reading in Sign Language. The importance of adaptable material for different readers has also been taken into account. Adaptation in size, color, orientation (landscape or photo), options for the visualization or not of complementary items such as legends, pictures, icons and links, tools for video speed changing reproduction, insertion of marks, notes in SL and browsing through the contents are relevant for video reading. The

250 Senses&Sensibility’13 above indicates the need for multi-disciplinary teams, including designers, for the development of translation projects in SL. Research also showed the importance of including deaf people throughout the entire process so that they could evaluate the usability of the materials.

Understanding the ‘reading’ act is crucial for the development of ergonomic projects in the translation of texts written for SL. It is also highly relevant to note that in each project the adequacy to the aims and to the characteristics of publication and originality, normally desired in a design project, should be sought within the specificities of the project, in its characteristics and in its singular context.

REFERENCES

[1] E, Lupton; A, Miller. Design, escrita, pesquisa: a escrita no design gráfico. Porto Alegre: Bookman. 2011.

[2] L.Venuti. Escândalos da Tradução. Bauru SP: Editora EDUSC, 2002.

[3] M. C. Batalha; G. Pontes Jr. Tradução: Conceitos fundamentais. Petrópolis RJ: Editora Vozes, 2007.

[4] A. Pym. Exploring Translation Theories. London/New Youk. Routledg. 2011.

[5] P Santana; A. Bergamo. Cultura e identidade surdas: encruzilhada de lutas sociais e teóricas. Revista Educação & Sociedade, Campinas, v.26, n.91, p.565-582, maio 2005.

[6] K. Strobel. As imagens do outro sobre a cultura surda. Florianópolis: Editora da UFSC. 2008.

[7] Y. Zappaterra. Diseño Editorial. Periódicos y Revistas. Barcelona. Editora: Gustavo Gili. 2008.

[8] V. Silva. A política da diferença: educadores intelectuais surdos em perspectiva. Florianópolis: Editora IFSC, 2011.

[9] O. Sacks. Vendo vozes: uma viagem ao mundo dos surdo. Rio de Janeiro. Companhia dasd Letras, 1998.

[10] B. Bahan. Upon the Formation of a Visual Variety of the Human Race. In: H.D. Bauman (Org.). Open your eyes: deaf studies talking. Minneapolis: University of Minnesota, 2008: 83-100.

[11] R. Bringhurst. Elementos do estilo Tipográfico. São Paulo: Cosac Naify. 2005.

[12] R. Hendel. O design do Livro. São Paulo: Ateliê Editorial. 2003.

[13] A. T. Samara. Guia de design editorial: manual prático para o design de publicações. Porto Alegre: Editora Bookman, 2011.

Senses&Sensibility’13 251 [14] N. Pimenta. A tradução de fábulas seguindo aspectos imagéticos da linguagem cinematográfica e da língua de sinais. Dissertação. Programa de Pós Graduação em Estudos da Tradução. Universidade Federal de Santa Catarina. 2012

252 Senses&Sensibility’13 Innovation by Design – a Case Study of a Leisure Furniture Company from Santa Catarina

Roger C. Pellizzoni, Laryssa Tarachucky, Francisco A. P. Fialho and Luiz Salomão Ribas Gomez Universidade Federal de Santa Catarina, Programa de Pós-Graduação em Design e Expressão, Florianópolis, Santa Catarina, CEP 88040-900, Brazil

Abstract —Innovation has been a goal to be pursued in the business world. The culture of design thinking as a tool to achieve it, however, finds it difficult to settle in more traditional business sectors. This article brings an example of how was the process of inserting Design in an ultra- centenarian furniture industry, referencing concepts already established in the areas of design management, design thinking and business management in order to analyse and validate the process developed.

Index Terms—Branding, Place Branding, Innovation, SWOT Analysis, TVU Branding.

I. INTRODUCTION

In the scenario of accelerated changes in which contemporary world is inserted, the increasingly product offerings and global expansion of the knowledge industry leverage the difficulties for the businesses to remain competitive. Thus, the innovativeness becomes an advantage and a premise of survival, where finding new market opportunities, proposing solutions to better meet consumer’s needs and transforming ideas into innovative business strategies significantly increase the chances of success of organizations [1]. However, itis essential that, in addition to being attentive to the constant market changes, they build an internal culture in order to encourage innovative practices.

Through the analysis of facts related to innovation by design and consolidated theories on innovation, design management and design thinking, this paper investigates the integration of design in an ultra-centenarian leisure furniture industry, based in a small town in the state of Santa Catarina, in southern Brazil. Therefore, research procedures were adopted consisting in literature review followed by semi-structured interviews and case study. The literature review was done through reference books, articles and periodicals in the field of design, design

Senses&Sensibility’13 253 management, design thinking and innovation. The interviews were done with the four main managers from the industry (president, sales director, marketing manager and industrial manager), from August, 23ʳᵈ to August, 30ᵗʰ 2013.

The case study was conducted by gathering information through interviews with the company managers directly connected to the process, and the reporting of the facts observed during the initial phase of the adoption process of design actions in the company.

II. LITERATURE REVIEW

According to the Oslo Manual, innovation refers to the introduction of a good or service new or significantly improved with respect to its characteristics or intended uses [2] which includes significant improvements in technical specifications, components and materials, incorporated software, user use or other functional features. The brazilian innovation law [3] defines innovation as the introduction of new or improvement in productive or social environment that results in new products, processes or services. It involves processes of collective decision making and results in responses that satisfy the problems previously identified [1]. Thus, engaging in a unique combination of activities that leverage the company’s resources so peculiar, difficult to be copied by others, is paramount to the continued success and is what gives businesses sustainable advantage over competitors. It is the strategy’s essence - defined by a distinctive system of activities and resources - that enables an entrepreneurial company to win in the market, gives it advantage over the competition and provides the best return on investment [4].

Investigations in the field of innovation suggest creative thinking in the area of design as a method suitable for the development of innovation in products and services [4]-[7]. Innovation arises, then, as an opportunity to create competitive advantage while the Design Management facilitates the completion of creativity by efficient learning processes in order to find new solutions.

The duties of design are not restricted to its product. Not even restricted to being a result of a process. Before, and in addition, design is the method, the process, a model of structured actions and thoughts that run through a certain path to the desired pre-established outcome, innovating in several key areas that affect the competitiveness of products and companies (fig.1)[8]. This result is an object, a service or a value, although this outcome is not always predictable or planned.

254 Senses&Sensibility’13 Fig. 1 – The contributions of design management for business

A current approach, which aims to corroborate the idea that design management at a strategic level is essential for innovation inside organizations, is the concept of design thinking. This approach proposes the inclusion of problem solving and ideas generation practices from the field of design in order to identifying new opportunities to better satisfy customer needs, generate more innovative solutions for them and translate those ideas into business strategies focused and achievable which increase the chances of success of the organization on innovation [4]. The proposal is to create value for the organization through three fundamental aspects: empathy and deep and thorough understanding of the customers and their needs; the provision of distinct experiencial offers that meet those needs exclusively; and the involvement in a unique combination of activities that leverage the company’s peculiarly difficult to be copied by others.

III. BUTZKE LEISURE FURNITURE

The object of this study refers to the process of introducing design management aspects in a company with a long history of adjustments, adaptations and strategic realignments.

A. HISTORY

Founded by Wilhem Butzke in 1899, initially as a sawmill and joinery, Buztke Gebrüder was created as an answer to the growing demand for housing and storage building production inside Blumenau Colony, located in Vale do Itajaí, state of Santa Catarina. In the 20s, following up on the regional economic scenario, the company began to produce animal-drawn vehicles, which was followed by the production of wooden bodies for cargo vehicles years later.

Senses&Sensibility’13 255 In 1983, under new equity control, the company starts to invest in research and development of new raw materials, aiming at the replacement of Araucaria - native plant already endangered - by Eucalyptus. Based on these studies the company deepened their knowledge about the use of exotic woods, developing new production processes that aroused the interest of the international furniture market, especially in Europe, already deeply concerned about the deforestation of native forests. In 1985 Butzke begins the production of wooden furniture for European countries and the United States and in 1994 enters definitively in the furniture sector, leaving the automotive sector.

In 1998, Butzke Importação e Exportação Ltda. conquests the FSC - Forest Stewardship Council® - certification. This was a fact of great importance in consolidating Butzke among international furniture sector, since it was the first company in Latin America, and one of the first in the world to manufacture final products with the FSC ® tag. With the increase in exports and the opening of new markets in countries from Europe, North, Central and South America, Middle East and Oceania, in 2002 the company invests in expanding its production capacity by building a new industrial park with more than 10 square meters of area. During this time, 90% of its production was targeted for the international market, and Butzke had products, mostly designed externally by contractors, and working internally only in adjustments for the system of production of those projects. The rest of the production, around 10%, was destined for the domestic market, almost entirely distributed in pool stores, landscaping products to retail and DIY. Only a few products were designed by the company.

B. BUTZKE AND DESIGN

In 2002, while the company did great investment in the expansion and modernization of its manufacturing facilities, an economic scenario of increasing appreciation of brazilian currency against euro and the U.S. dollar starts to grow. Particularly the fall in the price of the U.S. dollar significantly interferes in the business relations of the company, which is heavily geared to the export market. In 2004, with no prospect of recovery in exports, the company began to redirect its strategy of trading actions for the internal market. The company’s business structure, until then focused on exports, is reorganized, allocating professionals in regional markets care and the designating new functions related to the management of market, initially with a tactical and operational profile. It is under the responsibility of this new role, hitherto nonexistent within the company, which are adopted the first commercial repositioning actions. In order to

256 Senses&Sensibility’13 operationalize the implementation of these actions, Butzke adopted the strategy of outsourced services for both the adoption of spokesperson, as advertising and visual communication actions.

One of the first actions taken - in the first quarter of 2005 - was the redesign of the company’s visual identity (fig. 2). Managers had the perception that the visual brand should aesthetically and conceptually approach to the visual language of furniture and decorative objects segments. The replacement of the typology and the original colors sought to provide the new brand a more smooth and contemporary look. Furthermore, the adoption of a pictorial element, from the stylized figure of a leaf, aimed to bring the iconic representation of the company’s association with aspects of environmental protection, enhanced by the adoption of a slogan that sought to highlight the niche market in which the company already operated and intended to focus: “furniture for leisure”. A new brand positioning began to take shape, with the use of visuals that aimed to convey and reinforce the brand’s relationship with concepts related to leisure, nature and environmental preservation. These values were already heavily identified with the ideology and practice of the company, but not reported and exploited in their image and selling points of the commercial area until then.

Fig. 2 – Redesign of Butzke’s visual identity

With the redesign of the visual identity completed, the company considered timely the development of materials to support the sales area, from the creation, programming and publishing of a institutional website and an online store. By that moment, the target market were the swimming pool supply stores, garden centers and chain stores specialized in DIY and building materials that traditionally marketed for outdoor furniture and garden accessories. There was, however, not enough and necessary investment capacity to promote the brand, its products and its own online store, whether through traditional or digital media.

At the same time, actions were taken to the press office, to promote the brand and its

Senses&Sensibility’13 257 products with the editors of publications specializing in interior decoration. It was noticed, however, the need to elect up a product that would be in line with the design trends of the moment and attuned to the interests of editorial publications. Without enough time and capacity to invest in the development of a new product, it was proposed by the communications company repositioning a product created in the 1980s to serve as a toast to the clients of the automotive sector, produced by the company: a retractable stool, named ‘Bankotte’, which was then out of print for some years now. Released in the first quarter of 2007, this product is assigned a new matte lacquer finish in various colors, inspired by the trend of inserting elements of color in home decoration, called ‘Color Block’, presented at that year’s edition of the Milan Furniture Fair. The launch of the new version of ‘Bankotte’ aroused the interest of the editorial staff of major magazines about architecture and interior design and newspapers in the country, who promoted it as a “wildcard part in the decoration”, highlighting its functional and aesthetic aspects. From there, the product became part of a series of interior design projects, especially in business environments and architecture and decoration events.

In 2008 the brand Butzke then reaches important conceptual space in the brazilian furniture and decoration market. The tradition of working with wood combined with environmental responsibility and the ‘look’ for the design trends put the brand as a reference in furniture for outdoor and leisure places. This positioning and visibility begins a new stage of evolution of design integration in the business, resulting in partnerships with some of the most important brazilian designers, such as Carlos Motta. Series of launches of new furniture lines connected to strong national design personalities begins, strengthening the company’s position in the scenario of furniture design both nationally and internationally.

CONCLUSION

The semi-structured interviews allowed drawing a timeline of the company and its approach to design. The results show that there is a significant similarity of the intuitive internal processes of the company to the theoretical foundations of design thinking, collaborating to the creation of a database on the subject and to draw preliminary conclusions that contribute to future studies about the design thinking and design management insertion in innovation focused processes.

The analysis and the synthesis of the material collected through fieldwork indicate at first

258 Senses&Sensibility’13 that the concepts of design management and design thinking are unclear or even unknown to the interviewees. This occurs despite the strong ability of the company to reinvent itself, and even getting that resilience following design principles.

It was observed that the understanding of the team about design comes down basically in creating and projecting product and graphic design and digital. At this particular point, the perception is that the graphic / digital aspects are more related to communication, advertising. There is no understanding of the scope of design in all aspects of application, even less understanding about the idea of what means “design management”. Design management, today, is part of the marketing and product management and the commercial area. The research and development sector is only involved in the adaptation of design projects outsourced. However, the perception of design application, although occasional, is positive. The interviewees considered design as a key element of differentiation, positioning and adding value to the brand and product line.

The interviews show that regarding the management of design and design thinking the group researched have the perception of design only as symbolic/aesthetic/ conceptual and functional/practical aspects, directly influencing the perception of design as a methodology/ process/thought. Thus, knowledge about design thinking is vague, acquired from some approximation through articles published in business magazines. The notion of design management is still small, since the function is divided among the areas sales, marketing, product and production areas. Design fits mostly through outsourced services, especially through signed projects. The management of these providers is in charge of marketing and products managers. From the point of view of the application of design in business, it can be said that it is seen as tactical and operational. However, there is a certain sense and openness to their application in a more strategic context, given the positive results obtained from its application on specific actions.

This study allowed to obtain an overview of the integration of design within the company researched. The results will form the scope for a work plan for the gradual integration of design management in the company in gradual and oriented approach in order to help promoting a continuous innovative process and positioning.

Senses&Sensibility’13 259 REFERENCES

[1] C. K. Prahalad, and V. Ramaswany, The Future of Competition: co-creating unique value with customers, USA, Harvard Business School Publishing, 2004.

[2] OECD, “Oslo manual: guidelines for collecting and interpreting innovation data”, 3ʳᵈ ed., 2005.

[3] Brasil, Lei nº 10.973, from December, 2ⁿᵈ 2004. Available at: .

[4] H. Fraser, Design para negócios na prática: como gerar inovação e crescimento nas empresas aplicando o business design, Rio de Janeiro, Elsevier, 2012.

[5] T. Brown, Design thinking: uma metodologia poderosa para decretar o fim das velhas ideias, Rio de Janeiro, Campus, 2010.

[6] B. B. de Mozota, C. Klopsch, F. C. X. da Costa, Gestão do design: usando o design para construer valor de marca e inovação corporative, Porto Alegre, Bookman, 2011.

[7] M. Viana, Design thinking: inovação em negócios, Rio de Janeiro, MJV Press, 2012.

[8] J. M. I. Gimeno, La gestión del diseño en la empresa, Madrid, McGraw Hill, 2001.

260 Senses&Sensibility’13 Emotion, Advertising and Branding: the Identity of Brands Built by Advertising Discourse

Sandra Regina Ramalho Oliveira, Alvaro Dias and Richard Perassi PPGDesign/UDESC, Florianópolis, Santa Catarina, CEP 88035-001, Brazil and EGC/Universidade Federal de Santa Catarina, Florianópolis, Santa Catarina, CEP 88040-900, Brazil

Abstract — The intention of the article is to show that it is possible to associate different types of advertising discourse, devised by studies of Jean-Marie Floch, to a perception, through the discourse of advertising, that the user makes the brands and building brand identity manifests commercial, its image, linking human behavior with the behavior of brands. There are few studies to justify or explain what happens when the marks are no longer legal and physical symbol to become an object of desire, designed to meet the dreams and fill the voids of a consumer.

Index Terms — Advertising, Brand, Discourse, Floch.

I. INTRODUCTION

It is possible to discuss the relationship of the brand identity to advertising, with the images constructed through discourses.

The identity of a brand is the result of the process of symbolization, the construction of the self-image of an entity or an individual. Thus, its symbolic character arises from the fact that symbolizations interact in the composition of the values expressed by the marks, imposing the necessity for analysis of what the brand is, how it relates to the market and what is the importance and function of its appearance in communication, building its identity. Must consider not just prepare a slogan interesting (brand signature) and try to associate it with the brand, it may be necessary, but not sufficient, since the brand image is pre-determined in the consumer’s mind by contact with various forms expression of the brand, including the use of services and products.

Thus, an effective slogan should synthesize, remember, update and strengthen a relationship that has previously been built between consumers and the brand.

Floch´s [1] studies, about the different types of advertising discourse, demonstrate this function to “represent” and / or “build” the meanings of the world.

Senses&Sensibility’13 261 II. IDENTITY OF BRANDS

Brand image is composed of identity (in the material sense and symbolic) and their values (assigned by itself and its consumers) that impacts their audiences through meanings and emotions. The brand has its meaning accessed by sensory information and archetypal patterns.

The brand image is the result of the whole process of interaction between the brand and its stakeholders, resulting in a given perception, on the basis of which will be more or less predisposed to give the brand a high value on the market. Therefore, analyzing the brand image is to study the relation-public company, whose efficient management seems to bring numerous benefits by capitalizing on the value of the brand. In this sense, the concept of image seems to be either a product (final effect), and a process (over time).

The design of a brand, according Semprini [2] consists in a enunciation´s key (its rationale), of promise (the projection of the fundamental enunciation), specification of promise (the development of a unique character to the promise), the registration a territory (when the procedure begins to realize enunciation) and values (the characteristics and nuances that allow the brand to define your approach). But the brand´s gain dimensions when it manifests itself in the process of building the brand image. These events that directly impact on the identity and projects the brand through the perceptions of the target audience and again interfering in the initial design.

The process of building the brand, and its manifestations, are the result of programs and communication actions, to act as manifestations of the organization, interfere and build at the same time, identity and image, resulting from the interaction between the organization, its environment and the audience to whom it is addressed.

Advertising is one of the more traditional communication actions. Thus, the brand communication is expressed through formal communication, ie, through the advertising, an occupation devoted to public dissemination of ideas associated companies, products or services, and specifically in our case, for advertising the brands.

Advertising, also, mediates between a brand and the consumer response process with embedded meanings. This means that the brand becomes relevant through advertising - and the consumer is involved through her.Floch [1], in his study of the different types of advertising discourse, organizes a semiotic square with opposing ideological of different types of

262 Senses&Sensibility’13 advertising, based on the constructive or representative function of language, in that language, for some, has the function of to “represent” the meaning of the world and to others, to “build” these meanings.

This type of classification focuses more on the activity of the advertiser and its relationship to discourse, than in the very materiality of the texts, adding the possibility of a narrative or exposition symbolic and with which types of messages would showed features of product´s demonstration directly (denotative message - advertising referential), indirectly (connotative message - advertising oblique) or through a rhetorical exercise or symbology (to some extent on the possibilities of advertising mythical and substantial).

Thus we have the following ratings:

Referencial advertising: make-seem-true advertising referencial´s is based on speeches´s narrative, b) figurative (and not abstract), c) descriptive (rather than normative) which means: 1) joints before/after, 2) specific information or details and 3) absence of adjectives or slogans [1].

Advertising oblique: oblique advertising is the denial of referencial advertising. Breaks with its positivist ideology. The meaning is constructed, it is not something that pre-exists. Advertising paradoxal, I read laterally, goes against the common opinion, is based on something that is out of place and non-immediate [1].

Advertising mythical: the mythic advertising is sheltered by advertising oblique by its objective alliance. The irony or malice advertising oblique mean - contrary to common sense and seriousness of advertising referential - that meaning is no longer there, “in reality”, which has to be constructed; the dream or the imagination of advertising mythical is present in to state in which what direction is the “ghost” (individual?) or imaginary (passive?) projects over the world to give a form and convert it into something significant [1].

Substantial advertising: advertising substantial is defined by the denial of advertising mythical as its ideology. Should not explore the product as a mere pretext expressive. The promotional material also rejects the “derisory”, a pejorative term that means the distance, the irony and the malice cultivated by advertising oblique [1].

III. A TRADEMARK AND YOUR IDENTITY CONSTRUCTED BY COMMUNICATION.

One of the major strategies of trademarks today is the pursuit of a differential to achieve

Senses&Sensibility’13 263 and maintain their consumers, seeking to create recognition and a identification. The brand wants to be perceived. The fans of brands carry their logo (the visual expression of the brand) everywhere, on clothing and personal items. Go to places where the logo awaits for them, shop, restaurants, bars, shows and events.

As among the people, there is a process of attraction and passion between consumers and brands: there is a first impulse of attraction, there is a second impulse of experimentation, and there is, finally, the experience of living and use. These concepts are the result of the valuation of the imaginary constructions of the subjects of that universe: are subjective concepts, symbolic, which often only make sense in the universe itself. Consumers are not buying a car to take you from one point to another, or a watch to tell the time. Also do not wearing a dress because covers the nakedness nor drink whiskey because it helps you relax. They choose, and at every choice, opting for the brand by which most attracted. Are products of a process of communication that pervades the media.

VILLAS-BOAS is the link between design and cultural identity, as it believes that cultural studies, and their articulation, should be tools for the study of graphic design. He believes that design is a discourses, and as such reflects the cultural condition in which and for which it was designed at the same time it contributes to produce, feedback or turn this same cultural condition. Anyone not have to look at anything without giving it a sense - and without that it does not set in our relations socially constructed – in that way, any information, mainly visual, is a cultural expression, ie, “not an object in itself, because the terms she must contact the’re including in our history - individually and socially speaking - and therefore we are including in our individual and social game, and this game we call culture.”[3]

The brand is the result of communication, which organizes the strategic actions to build and design the brand. When you have a communication approach to the consumption of visual identities (brands), it is possible to go beyond the semantic approach (thick description of the meanings of the symbols). The matter is dense and complex. This work intends to initiate discussion about it, indicating the contribution that communication can have for him.

IV. METHODS

The brand communication is expressed through formal communication, ie, advertising, and the purpose of this article is to work with this speech as constructors symbols. Therefore,

264 Senses&Sensibility’13 we surveyed the current commercial automotive companies in the media the year of 2012. The choice of this monitoring is based on the characteristics of this market with multiple brands and variety of products, facilitating the choice, getting into a universe shared by all and allowing comparisons and associations.

The automakers that were surveyed are Chevrolet, Citroen, Fiat, Ford, Hyundai, Honda, Mercedes Benz, Mitsubishi, Nissan, Peugeot, Renault, Toyota and Volkswagen. The first procedure was the grouping of brands due to its characteristics of communication and speech. And, subsequently, was chosen a brand representative of each type of advertising to refine your communication.

The process used to assess the characteristics was the analysis of advertising discourse, both textual and visual. There was no situation in our research, that the text´s speech not validates the visual and vice versa. The analysis presented is not intended to value judgment, to examine whether a campaign or advertising is “good” or “bad.” The intention is to show what says the image or other texts and, above all, is to show how they say what they say. Thus, the intent of the speech before the public can be defined through the creation and analysis of images.

V. RESULTS AND DISCUSSION

The first step was the general grouping of all brands surveyed in terms of their features and advertising communication.After was made a cross with the types and their characteristics described by Floch [1].

Referential: Citroen: Criative technology / Mercedes Benz: the best or nothing / Toyota: thinking beyond

Mythic: Fiat: driven by passion, fueled by the Brazilian / Ford: in with the new

Substantial: Chevrolet: count me in / Honda: the power of dreams / Peugeot: Motion & Emotion

Oblique: Hyundai: new thinking, new possibilities / Nissan: SHIFT the way you move / Renault: change the direction / Volkswagen: the self

The following procedure was to select, randomly, one of the marks and detaling their communication.

Senses&Sensibility’13 265 For the Referential group we chose the brand Citroen.

Fig. 1: Commercial Citroen: Criative technology

The fig. 1 details the features of the Citroen brand´s advertising discourse, especially its visual discourse, demonstrating characteristics based on descriptive and figurative speeches, with union before / after, specifics information and absence of adjectives, as does a Referential Advertising.

For the group Mythic we chose Fiat.

Fig. 2: Commercial Fiat: driven by passion, fueled by the Brazilian

The fig. 2 details the characteristics of the Fiat brand advertising discourse and highlights, especially for his verbal discourse, the characteristics in which the product is not exploited as a pretext expressive, rejects “derisory”, typical of the group Advertising Mythical.

266 Senses&Sensibility’13 For the Substantial group we chose Peugeot.

Fig. 3: Commercial Peugeot: Motion & Emotion

The fig. 3 details the characteristics of the advertising discourse of Peugeot and both the visual and the textual discourse are characterized by the dream or imagination and are present to say that the meaning of the world is designed to give you a way and convert it into something significant, strong characteristics of Substantial Advertising.

For the Oblique group we chose the brand Hyundai.

Fig. 4: Commercial Hyundai: new thinking, new possibilities

The fig. 4 details the characteristics of the advertising discourse Hyundai brand and you can see that the visual and textual features are focused on a meaning that is constructed, it is not something that pre-exists, goes against the common opinion and is based on something that is out of place and non-immediate, justifying the choice for the group Advertising Oblique.

Senses&Sensibility’13 267 So, in summary, we see that advertising Referencial is true, the most faithful portrayal of reality, the Mythic is a manufactured reality, a dream; Substantial transforms the product on a superstar, being the substance of advertising, and the Oblique is opposite of Referencial, presupposes an intelligent statement.

We have observed that there is a process of persuasion established by these visual and verbal relations, constructed from the respective concepts: but there is more to see in this text. We rely on Floch’s categories to educate the act of seeing, the penetration of the layers visible image, not noticeable at first glance. As can be seen, there is a plot chained, where verbal and visual concepts complement and confirm. Understanding this process is to begin to instruct us in the construction of discourses that brands need to be supported through communication.

VI. CONCLUSION

As can perceive, are all esthetic categories, namely elements perceptible by the senses. Not all will be present in the image, but will be present in the text. Thus, the access, the knowledge and the familiarity with these concepts enable perceive more elements than common sense can see. The intersections of these aesthetic elements will generate the effects of meaning in which they organize the look for further analysis.

The brand awareness refers to consumer preference in the purchase of a brand recognized in the market for their attributes - which can be both technical and symbolic - to the detriment of other unknown brands.

In fact, the vision - perception and reading - are dynamic processes, a kind of dialogue involving reader and object: it is believed that the information represented establish a “common ground” between the observer and what is being observed. Thus, the “interpretations” were fruits of this interaction, of this “common ground” that do not provide a single, definitive information.

Personalities and identities are manifested through behavior and his speeches. So why not apply this classification to the speech of the brand, regardless of brand advertising in every form of communication?

When a trademark has the option to relate to their customers, a process of communication need to be established and, by doing so, is the symbolic character of the interaction of the composition of the values expressed by the marks, imposing need for analysis of what this

268 Senses&Sensibility’13 communication is, how it relates to the market and what is the importance of their appearance and function in communication, building its identity. And analytical basis for doing so.

The brand gets a image and a dimension when it manifests itself in projects directly impacting brand perceptions through the audience and their different behaviors, attitudes, ways of acting and reacting that are influenced, among other factors, by the life experiences and experiences with the brand. The brand wants to be perceived. And through his discourse.

The process is unique for a full and visual communication and, in the specific case of this paper, to realize a brand in society: the visual identification and its elements help form the brand and the perception of its concept. However, these technical and functional elements are not enough to justify the behavior of consumers, but they explain the reading and make clear the possibility of multiple interpretations that a brand can have. Floch has the tools to helps us with that.

REFERENCES

[1] FLOCH, Jean-Marie (1993) Semiótica, marketing y comunicación. Bajo los signos, las estrategias, Barcelona, Paidós, [Sémiotique, marketing et communication. Sous les signes, les stratégies, Paris, Presses Universitaires de France, 1991]

[2] SEMPRINI, Andrea (2010) A marca pós-moderna: poder e fragilidade da marca na sociedade contemporânea. São Paulo: Estação da Letras

[3] VILLAS-BOAS, André, 2002. Identidade e Cultura. Rio de Janeiro: 2AB.

Senses&Sensibility’13 269 Interior Design Contributions for Well-being and Sustainability: Case Study of Hostels in Lisbon

Santa Klavina1, Ana Margarida Ferreira2, and Manuel Duarte Pinheiro3 1UNIDCOM/IADE-U & CIAUD, Faculty of Architecture, Technical University of Lisbon (FAUTL), 2UNIDCOM/IADE-U, 3IST-UTL & LiderA, Lisbon, Portugal

Abstract — This paper presents an on-going Ph.D. research about interior design, well-being, and sustainability in hostels of Lisbon. Interior design has boosted comfort in designed environments disconnected from natural environment, despite encouragements to include sustainability in design. Since 2006 several Lisbon hostels gained international recognition even without national characterization due to limiting Youth Hostel state definition, and economic deterioration in Portugal. Evolving paradigm proposes that interior design would improve wellbeing through filter of sustainability, depending on objective and subjective variables. Through literature review paper identifies main concepts contributing for survey in progress by identifying the key variables of studied system.

Index Terms — interior design, hostel, sustainability, well-being, youth travel accommodation.

I. INTRODUCTION

The investigation departs from idea of sustainability, which then aims to identify/adapt/ create sustainable makeover scenarios for temporary accommodation establishment (TAE) in context of Lisbon trough the interior design (ID). The objective of research is to identify the essential characteristics that would upgrade/adapt the methodology, satisfy user aspirations for well-being (WB), and increase design-added value of TAE, while preserving/benefiting local environment. In this phase of research this was done through literature analysis on (1) ID; (2) sustainability, environmental and design ethics, sustainable design; (3) WB, subjective wellbeing (SWB); and TAE with special focus on hostel. It is expected that relationships found between concepts will contribute for elaboration of surveys for second research phase. Accordingly we believe interior designer plays the essential role in user’s sense of WB in TAE by encouraging new perception about it, thus increasing design-added value of outcome, while integrating and/ or adapting existing project and evaluation methodologies— e.g. national (PT) sustainability evaluation system LiderA [1], which already includes several social aspects, by a more social,

270 Senses&Sensibility’13 user-friendly and subjective approach of ID. We intend to test this hypothesis in second phase of research by analysis of case studies and SWB evaluation survey in hostels of Lisbon.

II. INTERIOR DESIGN SINCE AGE OF COMFORT [2]

ID is relatively new discipline thorn between its feminine taste and functionalism of masculine modernism [3]. The idea of ID—initially recognized as interior decoration—begun with behavioral change when concepts of home and life altered, and public, semi-public, and private spaces were reinvented. Broader western perception of home and comfort initiated in 1670s, and was mostly driven by architects, craftsman, and wealthiest inhabitants of Paris. Gradually, the majesty, and representation of one’s wealth in interiors were substituted by comfort in living space, describing it as commodité— WB in one’s surroundings. According to DeJean [2] term comfort comes from French réconfort—meant help or assistance. Hereafter modern architecture would be only comfort-driven—concept didn’t exist in architecture prior to 1730s. Visitors of Paris, advised to tryout comfortable lodging and furniture, were encouraged to travel for comfort.

The new objective was to make homes livable, giving special attention to private spaces— now comfortable by definition, before meaning only opposite to public—that were actually inhabited and didn’t merely serve for status representation. The layout of rooms changed, and rooms decreased in size, and many of rooms acquired specific functions. While public space helped to impress influential people of society, new semi-public zone served to socialize with friends, thus private space was left to be alone with one’s inner self.

Soon besides decoration were invented flush toilet and other engineering commodities, e.g. centralized access to hot water, and call bell. This improved likewise the privacy and comfort of wealthy owners of lodgings, and their servants by certain autonomy of not being constantly next to their masters in case of needed assistance. Meanwhile increased alienation of people from one another due to spending more alone time in separated rooms, and not meeting daily in big public spaces. The term comfortable well-being spread across the Europe during eighteenth century [2].

Previously the taste was good by default. It didn’t have adjectives good or bad. Then due to growing number of choices for interior spaces emerged a need for someone responsible to create a good taste in interiors. These people were interior decorators. Consequently interior

Senses&Sensibility’13 271 decoration gained an independent field status and new identity [3]. The taste became a catchphrase in ID in eighteenth century, as it was believed that home should represent one’s personal taste and comfort in mind. Prior to this interior decoration resembled collection of art pieces to impress visitors rather than relating to WB and comfort of inhabitants. At some point it was encouraged to keep one’s interior up-to-date, almost as it would have as temporary character as fashion styles. In this time the light became important in private interior spaces. Along with new lifestyle, comfort—before associated with aura of forced magnificence—became the greatest luxury. Though the French revolution destroyed many comfort monuments (wealthiest dwellings), the idea of comfort reappeared by the end of twentieth century. The dual meaning of interior design, as an inside of building, and as inside of a person influenced, and reflected on each other [2].

Till 1960s ID still followed habits and rules of nineteenth century architectural and craftsman approach. Along with environmentalism of 1960s, ID changed paradigm pushed by modernist attempts to make ID greener and more acceptable for middle class. At some point tired from interiors that resembled more collection of art pieces, modernist interiors—with form follows function idea—became merely inside shells of architecture with lost softness of feminine taste. These functional but rather insensible interiors were contra balanced by over styled consumption-driven—evolved from collection - driven— interiors receiving equal amount of critique. Eager to understand how environment influenced human behavior, soon, ID was approached from behavioral sciences, e.g. anthropology, psychology and sociology [3].

In past twenty-five years interior designers realized the complexity and impact of their creations. Designed and natural environments are related in multifaceted ways yet not entirely understood. Jones [4] refers that green design deals with design decisions in micro scale, e.g. creating environments for people with allergies, sustainable design often involves design decisions in macro scale enhancing global environment, referring to environmentally responsible design as the one joining these two aspects. Environmentally responsible design ought to enhance WB of current and generations yet to come [4].

Ecological design [5] based in belief of belonging to something greater than a self [6], grounded in moral rules [7] goes beyond green, eco, and sustainable design [8]. However individuals in industrial, opposite to non-industrial culture, don’t accept other limits to their action than the ones assuming cost-effectiveness. According to Russ [9] despite technological

272 Senses&Sensibility’13 advances, ecological design requires nonetheless another behavioral change.

Despite yet missing resources supporting the full scope of the role of interior designer in creation of designed environment, evolving paradigm suggest that ID henceforth will be approached through filter of environmental responsibility, not merely with attentions only on aesthetics and functional requirements of living space [10].

III. INTERIOR DESIGN AND WELL-BEING

Various designers and visionaries express that along with concerns about environment the shift from product-based WB to artifact-free sustainable WB is required [11]. In last few decades there have been noticeable advances in science of WB, sometimes mixed with term happiness. However differentiation between terms happiness and WB is suggested, though happiness is easier to sell, its measures will always underlay WB’s, not otherwise [12]. SWB positions within hedonic psychology developed during turn of millennium.

Many European and Worldwide measures of SWB were made recently [13]. Connectedness (relationships), activeness, taking notice (awareness), learning (self-development), and giving have been recognized as 5 main driving forces to increased WB [14]. There are 3 main differences in measures of SWB: (1) correlation between life evaluations and measures of mood or emotion; (2) frequency of assessments; (3) current versus retrospective evaluation. Surveyors would greatly contribute for taking, gathering and using multiple measures of WB if adopting standard terminology, while continuing to test its validity [12]. Researches in last decades reveal that measurement of country’s progress doesn’t reflect on actual WB nor relates to sustainability. Happy Planet Index (HPI) uses globally obtained objective data, adds subjective data from respondents on survey about their experienced WB, then dividing it all by Ecological Footprint of country, thus obtaining improved WB measurement [14].

Western societies have become more individualistic somewhat disconnected from ecological principle [15]; unsurprisingly one of most important variables for WB is good accommodation. Technological advances keep Global Youth [16] seemingly always connected and involved, while young individuals reveal, they mostly become more eager to travel after first travel experience. Youth travel industry have been growing [17] despite economic downgrade, including independent hostels in Lisbon, thus understanding this system of youth travel accommodation in Lisbon would contribute for WB of young travelers and other stakeholders

Senses&Sensibility’13 273 of system. Youth travellers are keen to learn about and involve with local communities. Besides, traveling youth is future adult travelers. Thus shaping their perception of WB in TAE is essential in order to improve sustainability of TAE and tourism industry as a whole. Hostels are usually accommodations with shared semi-private and public spaces, thus perception of human interaction with environment and each other is essential to contribute for WB in such spaces.

IV. HUMAN INTERACTION WITH ENVIRONMENT

Personal space regulates the proximity [18] of one’s interaction with others. It is a hidden movable borderline around an individual that should not be invaded by others in order to avoid unnecessary stress. Proximity can be measured by laboratory experiments, simulation techniques, field experiments (involving observation of participants), naturalistic observations, and questionnaires [19]. These hidden limits are influenced not only by surroundings, cultural background, and to whom one interacts, but also such individual variables as, physical state, expectations of interaction, and gender. Women tend to have less personal space than men, especially between female and female. Moreover female individuals would search for side-to- side barriers more often, while men prefer avoid unnecessary frontal interactions. The lack of personal space may disturb ability to function and complete average tasks.

A territory is a physical space upon which one holds a certain perception of an ownership. One’s private space is a primary territory holding high degree perception of occupation and possession. Semi-public space – a secondary territory holds medium degree perception of occupation, and usually is occupied by unique users of space. A public space holds low degree of perception of possession. The existence of semi-public spaces is essential to encourage interaction between individuals, lack of it can result in alienation of individuals, e.g. multi- occupancy dwellings with no semi-private space prevents neighbors from recognizing whom belongs there, thus increasing risk of criminal activities.

A layout of space and/or equipment can evoke significant effect on communications. Sociofugal design keeps individuals apart, most often by facing them to opposite directions, whereas sociopetal design promotes interaction between people, mostly designed to face individuals towards one another.

Environment has undeniable effect on one’s behavior. Adaptation level theory claims that depending on ones previous experiences and type of stimuli there is possible adaptation to

274 Senses&Sensibility’13 environment. Behavior constrains theory claims that individuals in urban, opposite of individuals in rural areas, fall into stress caused by feeling restraints limiting their freedom. Environmental stress theory claims that specific single stimulus, e.g. crowding, can have negative effect on one’s life, especially if prolonged. Overload theory states that constant bombardment of information in urban areas leads to exhaustion and illnesses. It is suggested that stress as individual passive response to external stimulus appearing physically and psychologically. Autonomic nervous system gives the fastest response preparing one to encounter or escape. Endocrine system responds by releasing hormone adrenalin among others, it is slower but last longer. Immune system gives systematic response as a result of collected information from various mechanisms of body to fight off diseases. The wish to control the environment can be explained by wish to diminish possible stress stimuli. Uncontrolled/unpleasant noise, smell, and light among others, called pollution, can provoke physiological and psychological health problems. Air pollution, besides damaging natural environment, affects indoor air quality causing the risk of building- related illnesses [4].

Travel can cause stress likewise in short and long distances, not only due to journey itself, cultural expectations, communication barriers and other psychological effects, but also emotional effects of being away from ones comfort zone, ones unique private space. Nonetheless travelers are more aware of differences between spaces [19].

V. INTERIOR DESIGN AND SUSTAINABILITY

Current concept of sustainable development was defined more than two decades ago, however many designers are still waiting and planning to perform sustainable design services when the market will demand it, however, this demand might depend from design professionals [20]. According to Russ [9] design ethics ought to reflect changes in industry, society and design methodologies; moreover, sustainability should be approached from Promethean— forethought—philosophy rather than Epimethean—afterthought. While Orr [6] believes that only Promethean ideas without corresponding tools and methods would lead do bad result. Despite disagreements in ethical theories of western philosophies, and religious traditions, they all agree on moral significance of a human [21]. Unsurprisingly current concept of sustainability was also approached from anthropocentric point of view. Widespread concept of sustainability suggests equal balance between environmental, economical and social issues. Whereas ecological approach is systematical. In this perception, economical and social capitals depend

Senses&Sensibility’13 275 on super-system of environment. Thus there is no possibility to transfer overloads of super- system to subsystem, or benefits from subsystem to super-system. According to ecological principle all manmade systems, e.g. economical, financial, cultural, would have to function within limits of super-system. Ecologically sustained world that sustains us spiritually would require the society to surpass the chaotic and individualistic industrial age [7]. Orr [6] believes such ecological enlightenment will disturb existing philosophies comfortable to consumer society similarly as Enlightenment in eighteenth century. While sustainability suggests longevity, high levels of WB propose going beyond sustainability and merely survival, defining this concept as flourishing, Sustainable ID ought to be knowledge-driven rather than trend- given. In the same time it is noted that knowledge is achieved slowly, and that illusion of speed doesn’t allow noticing neither acquiring it. Moreover, ID decisions determine the behavior in certain environments, thus it should be constantly questioned whether an intervention is needed, what kind of intervention, and in which moment.

VI. FINAL THOUGHTS

Since seventeenth century ID in individualistic western societies has been about aesthetical and functional comfort disconnected from natural environment, however designed and natural environments are interlinked. Further development encourages inclusion of sustainability in design. Evolving paradigm proposes that ID would improve WB, which depends likewise on objective and subjective variables through filter of sustainability. Ever evolving ID, shaped by behavioral changes, faces the greatest opportunity to induce sustainable perception of WB. At some point its collecting/consuming part had contributed for unsustainable behaviors considering dwellings, especially travel accommodations. Regarding new perception of SWB, it is clear that subjective evaluation of sense of WB in TAE is essential in order to understand the whole system. Consequently understanding the system is essential to improve it.

ACKNOWLEDGEMENT

This research is supported by Individual Ph.D. Grant with reference SFRH/BD/79605/2011 from Portuguese Foundation for Science and Technology (FCT).

REFERENCES

[1] M. D. Pinheiro, LiderA – Sistema Voluntário para a Sustentabilidade dos Ambientes Construídos.

276 Senses&Sensibility’13 Hóteis, Apresentação Sumária, Lisbon: IST/UTL, Jan. 2012.

[2] J. E. DeJean, The Age of Comfort: When Paris Discovered Casual—and the Modern Home Began, New York: Bloomsbury, 2009.

[3] K. Kleinman, J. Merwood-Salisbury, and L. Weinthal. (eds.), After Taste: Expanded Practice in Interior Design, New York: Princeton Architectural Press, 2012.

[4] L. Jones, (ed.), Environmentally Responsible Design: Green and Sustainable Design for Interior Designers, Hoboken, New Jersey: J. Wiley & Sons, 2008.

[5] S. Van der Ryn, and S. Cowan, Ecological Design, 10th anniversary edition, Washington, Covelo & London: Iceland Press, 2007 [1996].

[6] D. W. Orr, The Nature of Design: ecology, culture and human intention. New York: Oxford University Press, 2002.

[7] T. Berry, “Ethics and Ecology”, Harvard Seminar on Environmental Values, Harvard University, Apr 9, 1996. http://goo.gl/TP8D9X

[8] S. Klavina, “Sustainable Makeover in “Baixa”: redesign vacant building into design hotel”, Master’s thesis, IADEU, 2010.

[9] T. Russ, Sustainability and Design Ethics, Boca Raton, FL: CRC Press, Taylor & Francis Group, 2010.

[10] IDEA, Interior Ecologies: Exposing the Evolutionary Interior, IDEA Journal, Brisbane, Australia: Interior Design Interior Architecture Educators Association, 2010.

[11] J. Chapman, and N. Gant, (eds.), Designers, Visionaries and Other Stories – a collection of sustainable design essays, London, UK & Sterling, VA: Earthscan, 2007.

[12] E. Diener, J. F. Helliwell, and D. Kahneman, International Differences in Well-Being, New York: Oxford University Press, 2010.

[13] OECD, OECD Guidelines on Measuring Subjective Well-Being, 2013. http://dx.doi. org/10.1787/9789264191655-en

[14] nef, The Happy Planet Index: 2012 Report. A global index of sustainable well-being, London: the new economics foundation, Jun. 2012.

[15] A. M. Ferreira, “Design e Inovação: valores para o século XXI”, Idade da Imágem, 8, 2003, pp. 52-56.

Senses&Sensibility’13 277 [16] Kairos Future, Global Youth 2013, Stockholm: KairosFuture, 2013.

[17] UNWTO, and WYSE, The Power of Youth Travel, AM Reports, Vol.2, 2011.

[18] E. T. Hall, The Hidden Dimension, Garden City, NY: Doubleday division of Random House, Inc., 1990 [1966].

[19] C. Roberts, and J. Russell, Angles on Environmental Psychology, Chelthenham, UK: Nelson Thrones, 2002.

[20] N. Shedroff, Design is the Problem: The Future of Design Must be Sustainable, New York: Rosenfeld Media, 2009.

[21] J. C. Evans, With Respect for Nature – Living as a Part of the Natural World, New York: State University of New York Press, 2005.

278 Senses&Sensibility’13 Meme Aware: The Influence of Brand Management in the Culture

Susana Vieira, Graciela Sardo Menezes, Richard Perassi, Luiz Salomão Universidade Federal de Santa Catarina - Departamento de Expressão Gráfica - Pós-design [email protected], graegra@ gmail.com, [email protected], [email protected]

Abstract — This article aims to present a reflection on the possibility of developing a aware meme, mediated by brand management. Therefore, the study was developed through a theoretical investigation focused mainly on publications about Brand Management and Philosophy. Sought evidence that the relationship between meme and the paradigm shift in society, to explain the influence of brand management in the process of cultural learning. Thus generating as result of this article, a reflection on the potential ability to control the way people act and think, by brand management, which could transform society from unbridled consumption in more socio-environmentally responsible.

Index Terms — Brand image, brand management, behavior, meme, social paradigm shift, social responsibility.

I. INTRODUCTION

The aim of this paper is to present a reflection about the possibility of developing an ‘aware meme’ mediated by brand management. Evincing the relationship between meme and the paradigm shift in society, to emphasize the influence of brand management in the cultural learning process. Thereafter, it is presented a reflection about the potential ability that brand management may have controlling the way people act and think and, therefore could be used as tool to switch the society from unbridled consumption to more socio- environmentally responsible.

Currently the advertisement on radio and television, the promotional strategies and the development of new products or services are not too successful in reach the customers, since does not embodies the human challenges. That means that brands have more persuasive power than advertisement, as it need to be connected with the culture to touch people’s hearts. This is what gives brands an important role in renovation, contributing to the paradigms shift [1]

Senses&Sensibility’13 279 The consumer’s expectations are changing, and this allows a higher engagement and interference of the design over brands, generating transformative impact, and knowledge to change a social behaviour.

Nowadays is experienced the era of sensations, of objects overloaded with values and influenced by brands. Consumers demand “objects to live, rather than objects toshow others; the reason to buy something is no longer to impress or to evince social position, but to achieve experiential satisfactions, whether they are sensory and aesthetic, relational and health, recreational and playful”[2]. As result, is observed the exaltation of momentary pleasures, stimulated by brands, packaging and advertising, for example. This, along time, seduces and discipline ‘new’ consumers. Corroborating the ‘emotional consumption’, where prevails the sensitive and emotional attractiveness, instead of functionality.

Hence the production of goods is no longer the main focus of capitalism, which begins to invest in the creation of signs, images and sign systems, which may imply a paradigm shift in society. For the reason today most of people is more interested in their own experience as individual than please and conquer others for approval or recognition [2]-[3]-[4].

The change in people’s behaviour is a conscious strategy developed by brand management process, where a set of memes is able to modify a culture.

Every meme is a conveyed idea, a cultural imitation. Is something repeated long enough to become truth [5]. It is possible consciously create this virus of mind (Meme) to ‘infect’ people with an idea. This relationship can change people’s behaviour, whether the transmitted idea is true or false. Once the meme’s ‘function’ is change and replicate behaviours and not highlight or select the more ethically responsible idea. Thus, it’s the designer’s task be in charge of selecting ideas more socially responsible. Designers should work with brand management combining meme and social responsibility, as it’s able to “create associations in which everyone can believe.”

Thus, it’s intended to present in this article a reflection about the demand of memes for brand management and also for the process of setting a new idea in the society, aiming the shift of paradigm. Therefore, is developed a literature review focusing mainly on publications in the area of Brand Management and Philosophy.

280 Senses&Sensibility’13 II. BRAND MANAGEMENT AND BRAND IMAGE

This social context of hyper consumption values the imaginary of the brand instead of social image and the necessity that individuals have to stand out relatively to others [2]-[3]- [4]. In this process, the brand management is responsible for relaying images, concepts and values for the brands, collaborating to meet individual desires and to create the imaginary of the brand. It means that brand management, also called branding, has the function of positioning or build the brand image in the consumers’ minds through intangibles aspects. In the words of Gobé [1], “brands need to connect with the culture and reach people’s hearts.”

In other words, the brand is what the consumer thinks it is. The job of the brand manager is to ensure that they are thinking in the way it ‘should be’ [6]. Thus, it can be said that the brand management administers what people think about the brand. However, the reputation that the brand conveys to an individual can be different from person to person. Since each one has its unique and particular experiences, which associated with several values and the infinite possibilities of interpretation can generate different meanings [7]. Ergo, the brand is a set of associations, positive or negative, established by the consumer when they remember it. And this perception is responsible for the creation of brand image [8]-[9].

The brand management works with a wide variety of knowledge areas, among them those that are most prominent are: marketing, publicity and design. These areas together develop strategies to communicate and disseminate the brand, aiming to satisfy consumers with new sensations and pleasurable experiences.

In this management process, the design contributes to build and strengthen the brand image [10]-[7]-[11]. According to Gobé [1], the design communicates and presents solutions with innovative differentiation and identity. It is capable to maintain the brand or the organization in a constant state of recognition.

Brands are part of culture and influences people’s lives [12]. Each one is a set of significant and symbolic elements, designed to give the product or service market differentiation. The brand image isn’t stagnant, it changes and, at the same time is adapting to society, is also modifying people’s behaviour. That is, the brand transmits and represents ideas, emotions, feelings, sensations that go beyond its function and its form. The intangible aspects of the brand build its image, distinguishing it from other brands, highlighting its value and satisfying

Senses&Sensibility’13 281 consumer’s desires. These aspects make the brand image memorable and interesting, influencing the decisions and behaviour of consumers [8]-[13]-[1]-[12].

III. MEME

Meme is a term introduced by Richard Dawkins in his book ‘The Selfish Gene’, first published in 1976. Dawkins defines what a meme is presenting the following example:

Memes propagate themselves in the meme pool by leaping from brain to brain via a process which, in the broad sense, can be called imitation. If a scientist hears, or reads about, a good idea, he passed it on to his colleagues and students. He mentions it in his articles and his lectures. If the idea catches on, it can be said to propagate itself, spreading from brain to brain. [5]

Beside, in the words of Brodie [14], “meme is a unit of information in a mind whose existence influences events such that more copies of itself get created in other mind.” The meme is a cultural manifestation, is a unit of information, a replicator (basic unit of imitation), which multiply from brain to brain. Through the human’s mind, the meme replicates and innovates itself, evolving rapidly. The infection can occur in many ways. Can circulate and spread among ideas, oral or written speech, slogans, tunes, sounds, drawings, behaviour, body language, television, radio, shapes, aesthetic or moral values, structures, and so on. They self-reproduce changing the way people think and act, modifying their behaviour and their emotions.

Every change in society or culture is involved or influenced by memes [15]. This infection occurs through the virus of the mind that infects people with memes, causing a vicious circle of contagion. Whereas when meme infects someone, influences their behaviour, leading them to spread the virus that just infected their minds.

The memes and the virus of mind are part of the culture, make it evolve. Thus, it is possible to consider that without memes the human life would be a chaos, as people could not come to agreement with themselves. From this point of view, memes are a blessing, however, there is also a downside. The constantly influence of memes causes changes in individuals behaviour who shift their taste, feelings, opinions, style, residence, phone, seeking to find themselves. Nevertheless the result is not approach, but in the removal of what could bring happiness.

Memes to spread do not need to be true or false and do not necessarily carry good idea.

282 Senses&Sensibility’13 What matters is the fact that they are or are not in people’s minds. Therefore it is necessary that humans remains alert to issues and situations they experience, looking for identify in every rewarded behaviour, memes that are programming their operant conditioning, in order to reflect on their own actions [14]. Hence, it would be possible to believe that the world can be a better place, where life quality can thrive. Yet, it is necessary to fight against the virus of mind acting similarly to them. It means, propagating consciously ideas that are considered important.

IV. MEME AWARE

The meme aware would be an alternative to the possibility of transforming the society from unbridled consumption to a society more socio-environmentally responsible. This discussion starts by reflecting about the relationship between the consumer society, the brand management, the brand image and memes.

What is suggested is that brand management, mostly by the brand image, disseminates memes planned carefully and consciously selected. Whether using marketing, advertising, design or any other tool, the important is to disseminate an antivirus for the current virus of the mind. This antivirus must combat the nowadays circulating memes by using memes filled with ideas more socio-environmentally responsible.

The antivirus could be a new virus of mind that contaminates people with aware memes. There may be several ways to do so. Nonetheless, the focus is the use of brand management as alternative to insert thoughts more socio-environmentally responsible in the minds and hearts of people. It is assumed here that there are not too many doubts and conflicts about what is social and environmental responsibility. Even ‘cause these issues are the concern of this era.

The religion, for instance, is a virus of mind that is infecting people for centuries by using memes. Furthermore, it is not possible deny that the religious ideas, which are influencing people’s lives all these years, were implemented and controlled by the Churches. Brodie [14] says that “advertisers want to program people to feel good and pay attention when they encounter the product”. Something similar does the religion, programming people to feel good every time they believe have met God.

The brand management, inside of organizations, can be a powerful engine for social

Senses&Sensibility’13 283 change [1]. For Lipovetsky [4], what the world needs is the creation of a new form of culture, which don’t give much possibility and freedom to satiate desires, as it can generates disappointment and absence of happiness. Hence, it can be said that both authors suggest changes and emphasises the necessity of a social transformation. The second author, much more concerned with human affairs than the previous. However, Gobé [1] seems more realistic as he affirms that people want freedom to choose, discover, experience and engage. If this is what people want, then, how it can be denied to them and still expecting response to the expectations in environmental actions, for instance?

Lipovetsky also is aware of the human beings craving for consumption, of the impossibility to suspend the market process, but he shows much more hopeful and optimistic. He believes that to change the current paradigm it is necessary investments in sustainable development and a new way of education, aiming emotional, sentimental and ethical values. Lipovetsky suggests the balance rather than the spectacle, and point a good education as solution to this [4].

Would memes be able to educate people? According to Brodie [14], “once created, a virus of the mind gains a life independent of its creator and evolves quickly to infect as many people as possible”. Those viruses may change when passing from brain to brain; it means that a meme is not immutable or immortal. Considering that, how it’s possible have control over what people should think and how they should act? There is no way to be sure about the meme’s future, how it is going to be its passage by people’s mind, is even hard to know if an idea (created consciously or not) will succeed in turn into a meme.

For Dawkins [5] just the attempt is already a problem, once it spends time and energy. Moreover, if it results in error, this could be deadly. Thus, he suggests the simulation since it shows to be more fast and secure. The brand manager could use a policy of pre-programmed behaviour. As strategy the author proposes “attack the opponent; if he flees pursue him; if he retaliates run away” [5]. Apparently that’s what the brand image does, it presents itself unexpectedly to consumers; suddenly comes a new brand in the market, or an old brand restructures its identity and, while the individual does not turn into a consumer he is pursued by contagious memes from this brand. When a brand leaves the market, it’s because it has been very shredded by people. However this can also be the consequence of meme’s influence.

284 Senses&Sensibility’13 Brand has great power over society. According to Brodie [14], the advertising agencies are successful disseminators of mental viruses. The advertisements can make people believe they prefer one brand to another. What corroborates the idea that brand management is also spreading memes. What is proposed here is something magical, something that goes beyond the illusion offered by market and consumption. It’s about the dissemination of memes to influence people with social-environmental responsibility.

If it’s possible to spread mental viruses in order to generate businesses profit, would be possible also infect people with memes filled with consciousness? And if is possible, why until today this was not done? Perhaps social-environmental responsibility is considerate something unpleasant and unrewarding. What could do the brand manager, along with other areas, to make this responsibility more enjoyable? Is it possible? Or, is something too natural for today’s society?

V. FINAL CONSIDERATIONS

The culture is in constant transition, and that makes the current consumer society change its behaviour influencing the relationship between individuals. According to studies in the field of brand management, this is consequence of the action of mind viruses that infect people with memes, with information or ideas that spread rapidly among the mind of those.

The purpose of this article was to present a reflection about the influence of the meme in society, mediated by brand management, which could be an alternative to generate changes socio-environmentally responsible in people’s behaviour and in the society at large. Therefore, it was discussed about society, brand management, brand image and meme, aiming, lastly, formulate a reflection on the topics presented.

It was developed a theoretical research focusing mainly on publications in the area of Brand Management and Philosophy. As result of this research was presented theoretical evidences of the influence that memes may have in the paradigm shift in society and, consequently, the behavioural effects in individuals. What can be seen in the cultural changes occurred since the beginning of the industrial revolution to the present day.

The brand image has a fundamental role in those cultural changes. Whereas it is able to influence the collective behaviour through brand, exerting distinct effects from person to person. Allowing each one, in their individuality, to interpret the brand in their own view,

Senses&Sensibility’13 285 based on experiences, personal taste, and so on. Thus it’s concluded that a well-managed brand is capable to infect people as well as the meme.

The meme, in this article, was approached as something that can delight people. It has the ability to influence people’s behaviour; however, it’s assumed that is possible manipulate this. It means that there’s the possibility of re-educate culturally the society by using memes. The problem is that this will not happen of a sudden, ‘cause perhaps managers are not trained yet to perform such a feat.

It should be clear that the mediation of the meme by brand management is a supposition, based on the observation and studies of the effects that supposedly brand image - filled of memes and guided by brand management - causes to individuals and to society.

In this research was not possible to prove that brand management is able to generate aware memes to be transmitters of ideas more socio-environmentally responsible, however the goal of initiate a reflection on the subject has been accomplished.

What was presented was the possibility of brand management, involved with several areas, develop memes with awareness, to purposely disseminate ideas, mainly targeting the social and environmental benefit. What in the future could generate a significant cultural change, transforming the unbridled consumption society into more responsible. In this case, the brands would be the major distributors of these new viruses of the mind, once they now have great persuasive power over consumers, power that beats advertising and the products itself.

Thus, to prove these assumptions, it would be necessary to develop further research, which demonstrated the existence of aware memes in society or which would develop, apply and test those memes. However, among the scientific community, there are still many questions and doubts about memes. What makes difficult the interest of researchers in this subject. It’s believed that with aware memes, organizations could reach social and environmental responsibility, as it would be infecting people with these ideas.

REFERENCES

[1] GOBÉ, Marc. BrandJam: O design emocional na humanização das marcas. Rio de Janeiro: Rocco, 2010. p.15 - p.113

[2] LIPOVETSKY, Gilles. A felicidade paradoxal: ensaio sobre a sociedade de hiperconsumo. São

286 Senses&Sensibility’13 Paulo: Companhia das Letras, 2007a. p.36

[3] BAUDRILLARD, J. (1995). A sociedade de consumo. Rio de Janeiro: Elfos Editora; Lisboa: Edições 70.

[4] LIPOVETSKY, Gilles. A sociedade da decepção. Barueri, SP: Manole, 2007b.

[5] DAWKINS, Richard. O Gene Egoísta. Lisboa: Gradiva, 2003. p.263 - p.95 - p.109

[6] HEALEY, Matthew. O que é o Branding? Barcelona: Gustavo Gil, 2009. p.10

[7] CHEVALIER, M.; MAZZALOVO, G. Pró Logo: Marcas como fator de progresso. São Paulo: Panda Books, 2007.

[8] BATEY, M. O Significado da marca: como as empresas ganham vida na mente dos consumidores. Rio de Janeiro: Best Business, 2010.

[9] KOTLER, P. Administração de Marketing: a edição do novo milênio. São Paulo: Prentice Hall, 2000.

[10] AAKER, D. Marcas:brand equity: gerenciando o valor da marca. São Paulo: Negócio Ed., 1998.

[11] RUÃO, T. As marcas e o valor da imagem: a dimensão simbólica das actividades econômicas. Disponível em: . Acesso em: 24 de novembro. 2012

[12] MARTINS, J.R. Branding: o manual para você criar, gerenciar e avaliar marcas. São Paulo: Globalbrands, 2006.

[13] CASTRO, L.; Modelo de referência para a comunicação da marca em interfaces gráfico- digitais.Florianópolis, 2010, 190 f. Tese (Doutorado em Engenharia e Gestão do Conhecimento) –Universidade Federal de Santa Catarina -UFSC, Florianópolis, 2010.

[14] BRODIE, Richard. Vírus da Mente: a nova e revolucionária ciência dos memes e como ela pode ajuda-lo. São Paulo: Cultrix, 2010. p.33-p.179- p.16

[15] DENNETT, Daniel C. A Perigosa Ideia de Darwin: a evolução e os significados da vida. Rio de Janeiro: Rocco, 1998.

Senses&Sensibility’13 287 From Tailors to Gardeners: Shifting Roles for the Design Professionals

T. García Ferrari Department of Computer Science, University of Waikato, Hamilton, New Zealand

Abstract — Over the last decades of the 20th century and the first years of the current one there has been a paradigm shift that has affected the way designers work and the projects they are required to tackle. This change has been emphasized with the adoption of digital media and the ubiquity of telecommunication portable devices. After the mechanical era, where different sub- areas of design have been consolidated, we have entered a period where designers seem to be less working as “tailors” and often working as “gardeners”: preparing the soil, planting seeds, watering them and pruning out some of the branches.

Index Terms — design, paradigm shift, biology age, liquid modernity.

0. PROLOGUE

This paper addresses different aspects of the Design profession in our current society. First, the acknowledgment of a paradigmatic change in the means of production, development and consumption of Design projects product of the advent of digital technologies. Second, it analyses the change in the nature of Design projects. And finally, it explains the parallel developments that could be established between the Open Source movement and Design.

In the conclusions, this paper explains why the proposed analogy introduced here – where designers are moving from working like tailors to act as gardeners – is meaningful in the actual context of action.

I. INTRODUCTION

In the English language, the word “tailor” is both a noun and a verb. Considered as a noun, a tailor is a dressmaker, a garment-maker. Understanding the word as a verb, to tailor is to adapt, modify, to shape or to reshape. Considering this meaning, understanding Design also as a verb, the proposed analogy is meaningful: we could say that designers work like tailors. Instead of making clothes, they give shape to the world around us.

288 Senses&Sensibility’13 Tailoring is an old profession that can be traced back at least a few centuries1. Tailors work under a particular model: clients come to the shop; a tailor shows him or her different fabrics, takes body measures and makes a fitted cloth. The Oxford Dictionary of English (Third Edition) says “to fit individual customers” or “to meet individual requirements”. Once a particular work is finished, the process is finished. There is no further need of intervention neither by the tailor nor by the commissioner.

Gardeners have a different approach to their practice. Gardening is a process of creating an artificial reality in consonance with Nature. Understanding the art of cultivating, gardeners do not act by request or against the nature of any given soil and plants. They make them play the part at which they play its best. In this interaction, gardeners propose things and then Nature takes control. The gardener can adjust this dynamic system by watering, fertilizing or pruning. This process has more similarities with the activity of a Designer, particularly in an inter-networked, fluid and constantly changing society. Tim Brown [2] explains

the old assembly-line metaphors of the Industrial Revolution won’t help us design the future. Our world is complex. Like a garden. We must tend it, cultivate it, steward it, and encourage it to meet our needs instead of always trying to be in control of it. Our solutions must accommodate the competing needs of humans and the rest of nature. Successful design, like successful gardening, is never finished and is constantly changing.

Understanding that Brown’s ideas are presented in a broader context, this is the tension that this paper addresses. How are Design projects started and who is in control? Are designers acting like tailors or they have moved to a new scenario where they are behaving as gardeners?

II. ON THE VERGE OF A PARADIGMATIC CHANGE

Living in the early decades of the 21ˢᵗ Century, we are in a “hyper-connected, data-driven, global economy” [9]. All our relationships with means of production and distribution have changed and are in a constant movement. We are even re-examining our loyalty to traditional currency and perhaps moving also this into the digital realm, for example using Bitcoin as a global and decentralized currency.

1 The Oxford Dictionary of English (Third Edition) says that the verb dates from the mid 17th century.

Senses&Sensibility’13 289 Design has moved away from producing artifacts. Gui Bonsiepe [1] describes, “the interface is not an object but a space where the articulation between the human body, the tool and the object of the action happen” (p.17). This concept validates the action of graphic and industrial designers as “interface designers”. But the nature of the interface is rapidly changing in the context of the digital world.

Like Verplank [15] explains, over the years computers have been understood in three different paradigms:

• The computer as a person, which lead to the world of Artificial Intelligence;

• The computer as a tool, which was related to the desktop metaphor and the GUI;

• The computer as media, related to tactile and gesture controlled interfaces.

Even not knowing if there will be a fourth (and then fifth, and so forth) paradigmatic change in the future of computer technologies and our comprehension of their usage, we can perceive a certain leaning.

Understanding ubiquitous, mobile and high performance computers as media devices, designers are no longer only developing tools to achieve certain pre-defined goals. They are providing, proposing, and sometimes developing open environments that are immediately re- appropriated and re-contextualized by the consumers. The control is not so much on the hands of the designer but at the other end.

As Hugh Dubberly [8] have clearly stated,

Changes in the media designers use (the internet and related services) have altered what designers make and how their work is distributed and consumed. New media are changing significantly the way designers think about practice. New types of jobs have emerged. For many of us, both what we design and how we design are substantially different than they were a generation ago. (p.1)

The north-American design educator Meredith Davis [7] explains this need of transferring the control from designers to participants. Citing Gerhard Fischer (2002), she writes “as the influence of technology expands, control moves from the designer to the people for whom we design”. And then, quoting Liz Sanders (2006), she also explains “the designers need to think less about consumers and users, and more about participants and co-creators; about designing with people rather than for them” (p. 2). That is probably why Donald Norman [11] is calling for

290 Senses&Sensibility’13 a change in Design education, because

in today’s world of ubiquitous sensors, controllers, motors, and displays, where the emphasis is on interaction, experience, and service, where designers work on organizational structure

and services as much as on physical products, we need a new breed of designers.

There is a perceivable paradigmatic change.

Like it is always the case, changes are not affecting 100% of the community at once. Not on the design side, nor on the side of the consumers of design artifacts. Nevertheless, it is interesting to understand that there is a trend gaining momentum and this will eventually lead to the majority of the design community working under a different scenario.

As it happened to tailors: today there are a reduced number of artisans practicing their craft in the same way as their predecessors a century ago. They are a minority and they are working for an elite group that can afford to have a custom suit.

III. THE NATURE OF DESIGN PROJECTS

Change in the Design field is increasingly rapid. It has moved from a consolidation as a discipline with practices, discourses, and outcomes to a more fluid state where some Design methods are applicable to a large number of situations, from business to relationships between citizens and their states. Norman [11] explains

in the early days of industrial design, the work was primarily focused upon physical products. Today, however, designers work on organizational structure and social problems, on interaction, service, and experience design. Many problems involve complex social and political issues.

North-American educator Richard Buchanan [3] defines four orders of design: visualization, products, systems, and services.

Buchanan’s “four orders of Design” have a correspondence with “Graphic Design”, “Industrial Design”, “Service Design” and “Culture Design”. But there is an inherent question that remains the same: why do we design? Is Design a service as a response to requests from third parties or can Design be understood in a different manner? No simple answers to this question could be comprehensive; there are as many possibilities as designers exist. Paraphrasing Forrest Gump – the main character in the blockbuster Hollywood’s movie by the same title – “designer

Senses&Sensibility’13 291 is as designer does”.

Nevertheless, there is a group that is interesting to analyze. They are a group of self- motivated professionals and entrepreneurs that have a design discourse, use design methods and produce design outcomes. Therefore, they are designers. But they do it without an external party (client) initiating a Design intervention.

There is nothing new to this way of working. But probably the idea of the designer only responding to external requests has been ruled Design over the last fifty years. And as such, this concept has also permeated the design education area.

Nowadays, technology gives more equal opportunities for people in different locations to reach markets not available in former times. People living in the “global village”, understanding its topological and not topographical nature, have extended their capability to reach clients from all around the World. As this relationship between commissioner and designer has changed, designers themselves are initiating and pitching to “audiences” much more than waiting for client requests.

Over the last decades, education institutions have educated plentiful people in Design. If we think only in terms of client-initiated projects, there would be too many new designers. These graduates establish using their designerly ways of working (paraphrasing Nigel Cross’ book “Designerly Ways of Knowing” [6]). Not having enough requests from the outside world and with the tools-of-the-trade at hand, they are self-initiating their own projects. Once Design schools have prepared the soil and planted the Design seed, people will flourish and Design will find its way. With or without an external request from a client.

This group of designers acts like gardeners: planting their flowers in the global economy, watering the soil and letting Nature (or the market) to do its work. They are not providing one solution to a particular client but proposing solutions to an open world.

Our industrial society has made us believe that Design is a service. As such, designers work assisting any industry to reach their goals in a better way. If we consider this as a fact, it is an important part of the design process to understand the client (industry) and the market (target audience) in order to provide a successful “design solution”. But we must recognize that designers working as service providers are not always the case.

As society moves beyond the industrial era, the means of mass production of goods and

292 Senses&Sensibility’13 services are detached from the location of consumption. The place where Design happens is also disconnected from the location where the design is used. Therefore, the idea of designers working from external requests and understanding the users and their context of action is at the stake.

Often the designer does not specifically know how their designs will be used, who will be using them and in which context. The global market for exchange of digital assets is enormous. One of these “digital shopping mall of creative practices”, Envato2, has sellers that have already reached more than $ 1,000,000 in sales [14].

This situation is not completely new for other creative disciplines, similar to design. Stock Photographers, Illustrators and Typographers have been creating assets without knowing final usages for many years. But this is something new for design professionals, used to work by request, as the old tailors did.

IV. PERSPECTIVES IN OPEN SOURCE DESIGN

Not so long ago, the software industry went through a revolution. From a period where buyers could not see the source code of the software industry moved into a time where important software (e.g. the Linux operating system, the Apache web server, the MySQL database engine, etc.) are developed by a volunteer community of coders and released under an Open Source license. Users have the freedom of running programs as they whish, the freedom of modifying the program to suit particular needs, the freedom to redistribute copies and the freedom to distribute modified versions of the program [13]. The Internet – and particularly the World Wide Web – would probably not exist in the way we know it without this distinct way of developing and releasing software.

Ideas originated from this realm have already permeated many other areas of our culture. This situation, which had an early impact for visual communication designers, is now also impacting product designers as 3D printers are getting cheaper and available to the masses. This may produce a similar revolution to that which desktop publishing (DTP) produced in the realm of Graphic Design with the release of the Laser printer. The open source hardware movement is as

2 Envato is an Australian-base company providing an “ecosystem of sites that help people to be creative”. They provide several digital marketplaces where people can buy images, templates, project files and creative assets, from photographs to WordPress templates to digital audio files.

Senses&Sensibility’13 293 well gaining momentum. There is already an important group of people designing and releasing 3D objects as ready-to-print digital files [4], not knowing specifically who the user is, what the needs are or the context of usage.

This change is also impacting architecture design, an area of design that we could consider difficult to understand without specific requirements. There are designers developing open source architecture [12] in a similar manner that Open Source software is developed.

A pertinent question, not having an external commissioner or a particular request, would then be why do designers design? As Gui Bonsiepe explains, talking in the first person, “I am not pessimistic, otherwise I could not be a project-maker. The digital realm encourages me, the opening of communication and participation spaces through the Net. And the designer being responsible for the introduction of technology and the process of making it easy-to-use in people’s daily life” [5]. Designers have the tendency to believe that their intervention will make a better world. Therefore, Design is always a future-oriented (trans-)discipline, constantly looking through the windshield (and only occasionally through the rear mirror). Designers may work for fame and fortune but this is not always the primary motivation.

VII. CONCLUSIONS

A tailor produces one unique solution that will fit only a particular client’s program of needs (the brief) under a considered set of circumstances (the context). He or she replies using all the tools of his trade and his experience on a one-to-one basis. A tailor is a gun-for-hire, waiting for a commissioner before acting upon the world. There is not a suit produced unless there is a customer’s request. Even more: a suit tailored for a particular customer is not suitable for another one. There is a need for a strong intervention of the tailor who will re-adapt this particular piece to a complete new program of needs (the customer’s body measures). In this analogy the possibility of solutions for many does not exist. This was the reality of the garment industry and also the reality of the Design industry. This reality is changing.

Designers are no longer solely developing closed products but open experiences that will be completed or appropriated by a myriad of agents. The designer no longer has the control of either these experiences or a simple way of understanding when, where and how these experiences occur. The methods applied for the creation of design artifacts have entered a new phase where the analogies with the idea of gardening make sense. In a garden, there is an

294 Senses&Sensibility’13 interaction of elements proposed by the gardener. Each garden style has particular rules, what can go and what does not belong. But the gardener is interacting with the complexity of Nature, which will raise its voice and sometimes fight back.

We do not know how our society will change in the coming years and what new contexts of action will arise for Design professionals. It is still uncertain where are we going to end working under this new paradigm. But one thing can be said: the nature of our discipline is facing new challenges.

REFERENCES

[1] Bonsiepe, G. (1999). Del objecto a la interfase: Mutaciones del diseño. Buenos Aires: Ediciones Infinito, 1999.

[2] Brown, T. (2013). Want to Be a Creative Leader? Look to the Garden. In Design Thinking. Retrieved July 22 2013, from http://designthinking.ideo.com/?p=1110

[3] Buchanan, R. (2007). Richard Buchanan Keynote – Emergence 2007. In Design for Service. Retrieved July 22 2013, from http://designforservice.wordpress.com/buchanan_keynote/

[4] Calvo, R., Alaejos, R. (2010). Arduino the documentary [Video file]. Retrieved July 22 2013, from http://vimeo.com/18539129

[5] Cambariere, L. (2005). Una charla de diseño. In Página 12. Retrieved July 21 2013, from http:// www.pagina12.com.ar/diario/suplementos/m2/10-814-2005-11-12.html

[6] Cross, N. (2006). Designerly Ways of Knowing. London: Springer Verlag, 2006.

[7] Davis, M. (2008). Why do we need doctoral study in design? International Journal of Design, 2(3), 71-79.

[8] Dubberly, H. (2008). Design in The Age of Biology: Shifting From a Mechanical-Object Ethos to an Organic- Systems Ethos. In Dubberly Design Office. Retrieved July 22 2013, from http://www. dubberly.com/articles/designin-the-age-of-biology.html

[9] Kemp-Robertson, P. (2013). Bitcoin. Sweat. Tide. Meet the future of branded currency. In TED. com. [Video file]. http://www.ted.com/talks/paul_kemp_robertson_bitcoin_sweat_tide_meet_ the_future_of_branded_currency.html

[10] Krippendorf, K. (2006). The Semantic Turn: A new foundation for design. Boca Raton: CRC/ Taylor & Francis, 2006.

Senses&Sensibility’13 295 [11] Norman, D. (2010). Why Design Education Must Change. In core77. Retrieved July 24 2013, from http://www.core77.com/blog/columns/why_design_education_must_change_17993.asp

[12] Parvin, A. (2013). Architecture for the people by the people. In TED.com. [Video file]. Retrieved July 13 2013, from http://www.ted.com/talks/alastair_parvin_architecture_for_the_ people_by_the_people.html

[13] Stallman, R. (1998). About the GNU Project. In GNU Project – Free Software Foundation. Retrieved July 12 2013, from http://www.gnu.org/gnu/thegnuproject.html

[14] Try, A. (2013). Happy Sara_p Day – Marketplace Author Sells $1,000,000 Worth of Items. In Envato Notes. Retrieved July, 26, 2013, from http://notes.envato.com/interviews/happy-sara_p- daymarketplace-author-sells-1000000-worth-of-items/

[15] Verplank, B. (2011). Bill Verplank: Opening Keynote – Interactions 2011 [Video file]. Retrieved July 24, 2013, from http://vimeo.com/20285615

296 Senses&Sensibility’13 High-Tech Innovation: A Case Study in Made-To-Order Furniture

Tatiane De Cássia Ortega Rausch UFSC (UX Design), Florianópolis, Santa Catarina, 88040-900, Brazil

Abstract — This paper was based on a dissertation at the conclusion of a course in 2011 (Technology in Product Design College), which presents the application of the High-Tech concept in the manufacturing of made-to-order furniture. This market focuses on solving spatial problems in residences, as well as human problems regarding the usability and functionality of the product. It is therefore geared to individual needs, so users can express their lifestyle and personality. This case study generated concepts that focused on experience, personalization, formal and functional solutions, aesthetic solutions, and technologies that offer improved product performance.

Index Terms — design for manufacture, design optimization, process design, product design, user-centered design.

I. INTRODUCTION

The furniture industry in Brazil offers products with low differentiation aesthetic-formal, limited available technologies, or reproduction of European trends, with the design traditionally done by Italian manufacturers (ESTUDOS DE MERCADO SEBRAE/ESPM, 2008, p. 48). Because the products are similar, the price prevails over the quality, durability, and performance of the products.

People’s senses are awakened when they see an environment with furniture they desire, and the satisfaction of contributing to create a better solution for the physical spaces in the residences causes the consumers to form an emotional relationship with the products. In this context, the furniture becomes a means by which users express their personalities, statuses, lifestyles, the consumers are regarded as co-creators of the design, and they actively work in partnership with the designer.

A product that reflects individual choices cannot be sold based only on price or on mass consumption needs, but on personal subjective values that go beyond the cost-benefit

Senses&Sensibility’13 297 relationship. In this case, the senses that are awakened become at least equally important to the functional aspects in the decision to buy (RAUSCH, 2011).

II. THE PROBLEM

Considering the personalization needs of furniture consumers and the needs of the furniture companies, the question is how can furniture that reflects the personality of the user and also presents High-Tech solutions be developed?

III. MAIN OBJECTIVE

Develop a furniture project with a High-Tech design concept, possible to produce, that meets the needs of users of the furniture.

IV. SPECIFIC OBJECTIVES

1) Implement High-Tech solutions in product development.

2) Provide users with possibilities to make aesthetic and functional personalization.

3) Provide users with a simple and intuitive interface.

4) Provide users with a unique experience of use.

5) Facilitate the tasks by the users during interaction.

6) Increase the relationship between the users and the product.

7) Increase the lifetime use of the product.

8) Adapt the product spatially to the environment.

V. METHOD

The method selected for the development of product design essentially defines the work steps, tasks, and tools to be used, which directly influences the results.

To develop the project, the method selected was proposed by Amaral et al. (2006), and is separated into four macro phases with specific inputs and outputs, defined by Planning, Informational Design, Conceptual Design, and Detailed Design.

An adaptation of sub-steps was proposed by the author in this study to better solve the design problem. In the original method, the Informational step (theoretical research) begins

298 Senses&Sensibility’13 with the definition of the problem and concludes with a meta-specification, supporting the alternatives generated. According to the author, the conceptual stage begins with the development of conceptual panels, which in this work were represented by panel lifestyle, panel product expression, and panel product performance. The Detailing phase is when the description is created, and in this project a refinement of the final alternative was also made.

VI. THE HIGH-TECH CONCEPT

Nowadays furniture should suit the needs of production, with a formal simplification that facilitates the use of parts, as well as reduces material waste. Consumers, in turn, want durable pieces that are easy to clean, with dimensions adapted to the physical space of their residences, and better internal space to put their things. All of these requirements are included in the development of a product using the High-Tech concept.

The focus of the concept is efficiency, economy, and safety, in which designers work on possibilities for functionality through the implementation of industry solutions. These are the result of a continuous process of invention, modification, and improvement, and are readily available, such as parts, structures, mechanisms, and electronic components, in addition to creating a high durability product (KRON and SLESIN, 1978, p. 1).

Some people call this phenomenon “the industrial style,” but we call it “High-Tech.” High- Tech, a play on the words high-style and technology [...] High-Tech is also used to describe buildings with a technological look (High-Tech: The Industrial Style and Source Book for the Home, p. 1).

The concept is not a new idea; the association of new materials with new technologies has been present in architecture since the nineteenth century, when the Crystal Palace was built with prefabricated iron and glass, materials considered innovative for the period. The name High-Tech emerged in the 1970s, when, after World War II, the architects of Europe and America designed buildings with modern and industrial materials adapted to mechanical technologies, resulting in high-performance constructions.

Senses&Sensibility’13 299 Fig. 1. Crystal Palace, London (1851)

In the concept, the designer uses industrialized, high-strength materials, like glass and steel. The products are designed with the minimum necessary components for production, which facilitates mounting and dismounting, reduces manufacturing costs, and also offers the possibility of aesthetic and functional upgrades (RAUSCH, 2011).

The myriad items of commercial and industrial equipment turning up in the homes today were produced originally for utilitarian purposes […] Form followed function, not for aesthetic reasons but for efficiency, economy, and safety […] But today architects and designers […] see virtue in the fact that many of these products are well designed, although unintentionally, having evolved through a process of invention, modification, and improvements, and that they are readily available (High-Tech: The Industrial Style and Source Book for the Home, p. 1).

300 Senses&Sensibility’13 Fig. 2. Wardrobe (adjustment of industrial solutions, screens, grids, and metal profiles)

Fig.3. Docking structures (constructive optimization)

Senses&Sensibility’13 301 Fig. 4. Bed with electronics (industrial solutions from another segment)

You could call a throwback to the Bauhaus […] the fulfillment of Le Corbusier edict in the 1920s that the house should be a machine for living […] the pragmatic solution to the high cost […] the do-it-yourself (High-Tech: The Industrial Style and Source Book For the Home, p. 2).

Based on the theoretical research in this study and the information provided by the partner company, it was possible to write guidelines for the application of a High-Tech concept in the design project of made-to-order furniture:

1) Forms: straight lines and geometric shapes, massive structures contrasted with castings, exposure of the structures or functions.

2) Resources: modulation that enables customization, special compartments (organizers).

3) Technologies: intelligent mechanisms (extensors, hidden and silent, with dampers and brakes), low energy lighting (LEDs), automation of resources through the implementation of electronic components (triggered by motion sensors or touch).

4) Materials: predominance of industrial materials, solid structural materials that are opposed translucent, transparent, or reflective.

5) Finishes: metal/steel (matte, brushed, or textured finish), wooden plaque (wood grain finish, or textured lacquer), glass (smoked or clear), acrylic and polymers (colored, transparent, or opaque).

6) Aesthetics: contemporary, minimalist, industrial, or futuristic.

302 Senses&Sensibility’13 VII. CASE STUDY

The High-Tech features include an intuitive interface, in which products are designed with functional mechanisms, retractable parts, and are adjustable, combinable and adaptable, enabling customized solutions using pieces that are precast or industrialized materials (RAUSCH, 2011).

As a result of the study, a High-Tech furniture named Jet was created, which features a system projection onto the internal area of the drawers, and down for the luggage rack, allowing the user to dispense stairs to catch the things, minimizing accidents risks.

Fig. 5. Jet, a High-Tech solution furniture (designed by the researcher)

Fig. 6. Projection System (designed by the researcher)

Senses&Sensibility’13 303 In the model, the user can adjust the height of the rack using a rail system, which generates better use of internal spacing. The shoe cabinet has castors for space adaption in the bedroom and perforated drawers, which facilitate the location and ventilation of shoes.

Fig. 7. System for regulation of the rack rails (designed by the researcher)

Fig. 8. Perforated drawers (designed by the researcher)

304 Senses&Sensibility’13 Fig. 9. Shoe cabinet with drawers and castors (designed by researcher)

The Jet furniture also has LED lighting in the rack, activated by a presence sensor, and is manufactured in MDF and glass.

VIII. CONCLUSION

Innovation through the use of a High-Tech concept in the manufacture of made-to-order furniture, either by implementing or changing accessories such as fittings and finishes, or the use of functional modules, meets the needs for consumer customization. Through product personalization, people can express their personalities, their preferences, and their lifestyles. This allows them to generate emotional connections, which increases the life of this product.

The use of special mechanisms allows the projection of parts of the product toward the user’s direction, minimizing physical efforts and accidents. This performance can also be achieved by the use of transparent materials and LED lighting, which facilitates the location of items. The implementation of functional units, for example, using a shoe cabinet with wheels, allows for customization of the internal space of the furniture, and can be adaptable to the space of a bedroom. It also gives purchasing power to the consumers.

When we allocate solutions made by other industrial segments, manufacturing costs are reduced because these industry solutions are readily available on the market and can be allocated from other segments. Examples include the application of automotive pistons to open locker doors and the use of a presence sensor for lighting within drawers, which is widely used in the automotive industry.

Senses&Sensibility’13 305 REFERENCES

AMARAL, Daniel Capaldo et al. Gestão de Desenvolvimento de Produtos: uma Referência Para a Melhoria do Processo. São Paulo: Saraiva, 2006.

Estudos de Mercado SEBRAE/ESPM, 2008. Available in Acess in 9 of June of 2011.

RAUSCH, Tatiane de Cássia Ortega. Uma proposta de aplicação do conceito High-Tech em móveis sob medida [monograph]. Florianópolis, IFSC, 2011. Available in Access in 10 of July of 2013.

SLESIN, Suzanne; KRON, Joan. High-Tech: The Industrial Style and Source Book for the Home. New York: Potter, 1978.

Fig. 1. Crystal Palace, London (1851). Available in Acess in 11 of November of 2011.

Fig. 2. Wardrobe (adjustment of industrial solutions, screens, grids, and metal profiles). High-Tech: The Industrial Style and Source Book for the Home, p. 91

Fig. 3. Docking structures (constructive optimization). High-Tech: The Industrial Style and Source Book for the Home, p. 59

Fig. 4. Bed with electronics (industrial solutions from another segment). High-Tech: The Industrial Style and Source Book for the Home, p. 117

306 Senses&Sensibility’13 Made In Guarda: Fighting Seasonality

Tiago R. Mattozo and Julio M. Teixeira Universidade Federal de Santa Catarina, Florianópolis, Santa Catarina, 88040-900, Brazil.

Abstract — The seasonal trade is a matter with which the deal traders established on the coast of Santa Catarina. Given this reality, small entrepreneurs seek ways to reduce the impact of seasonal trade in their business. This article aims to analyze the issue of seasonality related to commercial tourist movement, presenting options to combat financial weaknesses of small business. In this research, we used as scientific procedures: a literature review; case study, semi- structured interview and CDS Model. After diagnosis, there were some joint actions involving e-commerce and digital marketing which contributed to the increase in sales.

Index Terms — Seasonal trade, strategic design, e-commerce, digital marketing, web design.

I. INTRODUCTION

The seasonal trade is a matter with which they deal traders established on the coast of Santa Catarina, mainly because the vast majority of consumers of its products and services are formed by tourists driving through the area in the summer season and on certain holidays throughout the year. Given this reality, seems important to find ways to reduce the impact of seasonal business during the off season, aiming at economic support during all months of the year.

This article presents a case which reports some actions to combat seasonal business. For this, we present a business case analysis – an ecological fashion brand called Made In Guarda - through the application of a diagnostic model, as well as the strategic actions undertaken and their results.

II. CASE STUDY - CONTEXT

As their stores operate only during the summer, the Made In Guarda needs to get good results in short time so it can keep itself for the rest of the year, while planning the collection for next summer.

By the year 2006, the company worked with just T-shirts male and female stamping nothing

Senses&Sensibility’13 307 but your brand, it had no project of fashion collection. In the two following years some products were gradually incorporated, such as dresses, shorts and blouses, but still without a specific study for collections. Since 2008 Made In Guarda starts working as a fashion ecological and casual brand, seeking the support of stylists and designers to create their clothes. As described above, your commercial period focuses almost exclusively during the months of the summer. The low population living in these localities not justify keeping their shops open during the remaining months of the year.

Over the years, its managers realized that their products had a great acceptance in the market then began to wonder about the possibilities of growth and strengthening your brand. However, they realized that the seasonal trade still difficult such longings.

III. THEORETICAL BASIS - CDS MODEL

With the purpose of providing an insight into a broader pattern, it was searched a diagnostic model that could help to visualize the global scenario and decision making. So it was decided to apply the CDS model.

According to Browning (2009), make use of visualization processes and models of evaluation, may prove easier and inviting, from top management to the more operational bases involved. Therefore, the need of using visual models emerges as a form of facilitation, monitoring and evaluation of proposals or developments (existing or not).

The CDS Model is a diagnostic tool that has been developed and is being enhanced by Core Design Management, of Federal University of Santa Catarina NGD / UFSC. This model has the function of promoting a diagnosis through integrated assessment of different indicators divided into three dimensions: Competitiveness, Differentiation and Sustainability (MERINO, 2010; TEIXEIRA, 2011; MERINO, GONTIJO e MERINO, 2011).

From the reality of the company we obtained data to perform an initial diagnosis using the CDS Model combined with the knowledge related to Marketing Strategies, Retail Marketing and Communication was possible to identify actions to combat seasonal business.

The research was supported and directed by literatures that link strategies consistent with the situation analyzed, especially regarding the marketing strategies aimed at retail. Gracious (2007) states that ensuring access to sales channels has become a strategic element for success.

308 Senses&Sensibility’13 Other literatures were also part of this research, guiding best practices in corporate communication and promotion. To Bateman and Snell (2010), in progressive organizations, customers abandoned their old roles and become co-creators of value. According to the authors, one dialogue with customers correctly becomes a source of competitive advantage.

IV. APPLING THE CDS MODEL

This step describes the case, which also included: semi-structured interviews and exploratory research about the segment of the company, as resources for obtaining data.

It was conducted a company’s diagnostic supported by the CDS Model, directed to the analysis of brand positioning, profile of their consumers, their structure, their competitors and their promotions.

Fig. 1. Initial Phase - CDS Model.

A. INITIAL PHASE – CDS MODEL

Regarding the competitiveness dimension, initially the company introduced a condition deficient medium. Regarding differentiation, the situation was also found median, with a slope bad for the processing indicator. The sustainability dimension showed a stable situation, but

Senses&Sensibility’13 309 with some specific deficiencies. The Figure 1 exposes the assessment of indicators in the initial phase, according to the Likert Scale.

B. STRATEGIES DEFINITION

Seeking to improve the conditions of the indicators and reduce the commercial seasonality experienced by Made In Guarda, was created a list of strategic propositions such as: creating a virtual store, intensification of digital marketing, occasional highly attractive promotions, partnership with fashion design courses and support to preservationists events and organizations.

C. FINAL PHASE – CDS MODEL

Fig. 2. Final Phase - CDS Model

The actions mentioned in the previous section were developed and applied, where each contributed one or more indicators of the dimensions addressed in the CDS Model. Creating a virtual store has substantially reduced the Made In Guarda’s seasonal trade, since this sales channel has no temporal or geographic boundaries. However the need for new investments in technology and logistics forced the adjustment of prices of their products, which nevertheless

310 Senses&Sensibility’13 remained competitive. From this time, the company also expanded its digital presence through digital marketing, including email-marketing campaigns, generating relevant content in an official blog and closer relationship with its customers through a fan page on a social media (Facebook). In email-marketing campaigns Made In Guard brings as content dissemination and enhancement of places where it is located, while offering products and promotions to your online store. This information is also replicated on the official blog and official page on Facebook that, besides these, convey news about the company’s practices in relation to environmental protection, support for cultural events and contributions to entities preservationists.

All these digital marketing tools has proven essential to the dissemination of the virtual store and strengthening the positioning of Made In Guard and its concepts. Through these communication channels keeps customers informed about the settlements and discounts offered in the store. Sales made by e-commerce add significant revenue to the company during the months when their physical stores are closed.

Another important action was the partnership with a university degree in fashion design, because as part of the discipline Collection Project, the students developed a complete collection focused on the identity of the Made In Guard. Suggestions for new materials and prints highlighted the need to improve the processes of processing (knitting, laundry, faction and printing). Allying themselves with specialized suppliers, their processing and finishing options have widened considerably, making their products more attractive and diverse.

Note in the tables below the final evaluation of the indicators used in the CDS Model, after the execution of strategic actions.

Senses&Sensibility’13 311 Dimension: Competitiveness Indicator Initial Value Final Value Arguments Price 5 (five) 4 (four) The adjustment was justified by new investments, reduced the competitiveness of their prices, but even so, its products continue to present an excellent cost- effective. Market 1 (one) 4 (four) With the launch of the web shop, company’s business reach has expanded enormously. Innovation 1 (one) 4 (four) The partnership with the fashion design course brought a high level of innovation in their products, increasing the quantity and variety. Table 1. Indicators, Values and Arguments about competitiveness dimension.

Dimension: Differentiation Indicator Initial Value Final Value Arguments Processing 1 (one) 3 (three) With the expansion of the product mix, Made In Guarda sought specialized suppliers, which gave a higher quality to their products. Good Practices 3 (three) 5 (five) Following the intensification of digital marketing, communicating their green practices

has become perceived value to your customers. Local Value 3 (three) 5 (five) The content produced in social media’s main focus is the enhancement of places where the Made In Guard operates, extolling and spreading their natural beauty. Table 2. Indicators, values and arguments about differentiation dimension.

312 Senses&Sensibility’13 Dimension: Sustainability Indicator Initial Value Final Value Arguments Environmental 1 (one) 3 (three) With the expansion of the product mix, Made In Guarda sought specialized suppliers, which gave a higher quality to their products. Cultural 3 (three) 5 (five) Following the intensification of digital marketing, communicating their green practices has become perceived value to your customers. Geographic 3 (three) 5 (five) The content produced in social media’s main focus is the enhancement of places where the Made In Guard operates, extolling and spreading their natural beauty. Table 3. Indicators, values and arguments about sustainability dimension.

V. CONCLUSION

This paper presented a business reality set in highly touristic places (during the summer), the seasonal trade, and how they can act with a view to reducing the impact caused by this situation, both in commercial terms and in relationship issues with customer. These businesses need to create ways to remain commercially active during all months of the year, including the months that there isn’t a large flow of tourists / customers in their stores. The digital innovations are a good way to reduce the impacts of this type of business seasonality, seen approaching companies and their customers, even though geographically distant. In this context, physical stores have the main role presenting the fashion brand and generate a first contact with the brand concepts. From this, with the return of customers to their hometowns, the company needs to develop actions for the continuity of business relationships with such customers.

The case of the Made In Guard proves that technological tools such as e-commerce and digital media can greatly contribute to the reduction of seasonal business, as the company becomes accessible to customers anytime and anywhere. Furthermore, the growth of electronic commerce transactions, twenty percent per year, also corroborates and encourages the opening of a virtual store. However, first of all, so these actions could produce the effects

Senses&Sensibility’13 313 objectified, the company needs to develop a good strategic plan, based on its capabilities, needs and constraints.

This work also highlighted the importance of conducting a diagnosis aligned with the strategic planning and to articulate the organization’s actions, especially when supported objective methods, such as the CDS Model.

It is worth noting also that, from this experience, company’s managers began to observe more closely methodologies and management tools, and realize, in practice, the contributions of a process guided by tested and validated methods.

For future studies it is believed that other indicators could be assessed and, therefore, new strategies can enhance the results of Made In Guarda. Another option for future work would be to apply the CDS Model strictly on company’s e-commerce in order to understand the performance of this commercial channel and identify their weaknesses and their strengths.

REFERENCES

[1] T. S. Bateman, S. A. Snell, “Administração: Novo Cenário Competitivo.” 2. ed. – 3. reimpr. São Paulo: Atlas, 2010.

[2] T. R. Browning, “The Many Views of a Process: Toward a Process Architecture Framework for Product Development Processes.” Systems Engineering, v. 12, n. 1, p.69-90, 2009.

[3] F. Gracioso, “Marketing Estratégico: planejamento estratégico orientado para o mercado.” 6. ed. São Paulo: Atlas, 2007.

[4] G. A. Merino, “Contribuição da gestão de design em grupos produtivos de pequeno porte no setor da maricultura: o caso AMPROSUL.” Master. Universidade Federal de Santa Catarina, 2010.

[5] G. Merino, L. A. Gontijo, E. A. D. Merino, “O Percurso do design: no ensino e na prática, na minha dissertação. Cadernos de Estudos Avançados em Design: design e método.” Barbacena, 2011.

[6] J. Teixeira, “Identificação e Proteção: O Design Valorizando Grupos Produtivos de Pequeno Porte.” Master. Universidade Federal de Santa Catarina, 2011

314 Senses&Sensibility’13 The Use of Augmented Reality For the Sake Of Accessibility

Viviane Pellizzon Agudo Romão and Marília Matos Gonçalves Florianópolis, Santa Catarina, [email protected]; [email protected]/ 88040.900, Brasil

Abstract —This article aims to verify the contribution of the use of Augmented Reality (AR) using interactive interfaces through learning objects for deaf people. Based on that, you can check alternatives offered by learning objects through sensory and perceptual stimuli that encourage interactivity and allow the expansion of the user perspective to achieve better learning. We aimed in this sense to enable deaf people the accessibility to information in their respective interface to promote the association of digital communication technologies and pedagogical content, approaching them to technology applied to learning, contributing significantly and effectively in their perception, interaction and motivation.

Index Terms —Learning object, accessibility, augmented reality.

I. INTRODUCTION

The advancement of technology and multimedia and the search for innovative methods have led researchers to develop and experiment with a new display system information. This AR system combines real and virtual objects in a real environment, in which they coexist aligned and in real time.

This is on the assumption that the virtual environment for teaching and learning (VETL) and learning objects (LOs) are digital resources that aim to share knowledge and to support learning, aiding both distance and classroom one.

The current paradigm suggests that deaf people need a more attractive way to enable them to access to mechanisms of technology applied to education as the use of more interactive interfaces proposed by augmented reality in which our senses help to understand the world better through an electronic digital system.

From this premise, this research aims to investigate the contribution of augmented reality in learning objects accessible to deaf people. The goal is that deaf people have access to information in their respective interface, in order to bring the user to the technology applied to

Senses&Sensibility’13 315 education and contribute significantly in their perception, interaction and motivation.

Considering this motivational factor, the AR enables the implementation of environments that allow the application of different strategies for cognitive development, especially the environments measured at a distance.

The following goals were established for the research: to perform a theoretical study on the issues, hypermedia learning, accessibility, LOs and AR; to determine the potential of AR in accessible learning objects; to conduct a study on the application of LOs with features of AR, targeted to the deaf and draw conclusions on the contribution of augmented reality for accessible learning objects.

II. AR CONCEPTS AND FUNDAMENTALS

The AR system is a result of an evolutionary and technological process that has been developed since the advent of the electronic computer which allowed the user interactivity with applications that did not exist. With the technological evolution of hardware, software and telecommunications, appeared “speech interfaces, tangible interfaces, etc., enabling users to access applications as if they were acting in the real world, talking, grabbing, shaking, gesturing, etc.” (KIRNER and SISCOUTTO, 2007, p. 3).

To Kirner and Siscoutto (2006, p. 10), AR can be defined as “ the enrichment of the real environment with virtual objects, using some technological device, running in real time”. It is important to note that the images are recorded in three dimensions and it is a multisensory system, as exposed by Azuma (2001). AR improves the user perception in relation to the real world, as well as their interaction with this world, with the aid of virtual objects that show information which the user can not often realize alone, helping and improving their performance on the tasks of the real environment.

III. HYPERMEDIA IN LEARNING

Hypermedia systems can be conceptualized as the relationship between the concepts of hypertext and multimedia: multimedia comprises multiple ways that can be used in the representation of information, while the hypertext “refers to a computer system that displays information generally in text form, not sequentially arranged, by means of linkages between keywords (links) often highlighted by color, enabling navigation” (PEREIRA, 2002, p. 02).

316 Senses&Sensibility’13 This concept of texts has an interactive nature and carries with it a different communication involving textual elements, as well as images, sounds and links that transport the reader to various types of texts, enabling a participatory interaction to the user.

According to Kenski (2007, p. 32), the hypertext is an evolution of the linear text as we know it. If in the middle of this chain of texts there are other media […], what we have is a multimedia document, better known as hypermedia.

As pointed out by Rezende and Barros (2001, p. 11) hypermedia learning systems can also provide linear navigation in guided researches, which are sequences of information previously established by the author. Within a guided research, you can proceed to the next node or back to the previous.

The interactive capability of hypermedia is its pedagogical potential, in which the student is encouraged to seek their own knowledge from the navigation features, the resolution of troubles, attempts hit and autonomy in defining patterns of work that are provided ina hypermedia system (SILVA apud SOUZA, 2002, p. 26).

It is known that hypermedia interconnected to the development of knowledge often requires the implementation of new projects that sometimes become limited due to the large investment of financial resources. Thus, the reuse of hypermedia learning is a great option that should be expected from planning, to contemplate inherent characteristics of a reusable educational material, as proposed by the Learning Objects (LOs).

Thus, we can note that by their characteristics, the hypermedia systems discard the sequential reading process in the traditional way and allow that a concept should be presented through various means adding educational potential for the user through hypermedia.

IV. LEARNING OBJECTS

LOs or Learning Objects can be understood as reusable resources to support learning. In theory, they are interactive multimedia files of a learning process based on education.

These objects can be defined as any resource, supplementary to the learning process, which can be used to support learning. The term learning object generally applies to educational materials designed and built in small clusters in order to maximize the learning situations where the resource can be used. (TAROUCO, 2003, p. 02).

Senses&Sensibility’13 317 Nunes (2008, p.69) argues that the LOs have a specific educational function and very well outlined pedagogical assumptions and he prefers to call them objects of teaching and learning (LTOs), emphasizing the presence of a pedagogical commitment since its elaboration.

According Tarouco (2003, p. 07) a specification with attributes was constructed to describe learning objects – IEEE (1484.12.1-2002 IEEE Standard for Learning Object Metadata). Five categories were used to implement the registration system of learning objects:

. The general category groups the general information that describes the object. The following attributes were used: identifier, title, language, description and keywords;

. The life cycle category groups information describing the characteristics related to the historical and current status of objects and those that have affected during their evolution. The following attributes were used: version, status, type of contribution, entities that have contributed and date;

. The technical category groups requirements and technical characteristics of the object. The following attributes were used: shape, size, location, technology type, duration and name of the technology;

. The educational category groups the educational and pedagogical characteristics of the object. The following attributes were used: type of interactivity, learning resource, interactivity level, final user expected, usage environment, age and description;

. The rights category groups the intellectual property rights and conditions of use of the object. The following attributes were used: cost, copyright and usage conditions.

It is possible to observe that these categories describe the characteristics used in the cataloging done for the repositories and high relevance to the research conducted through the search engines.

The cataloging of learning objects provides benefits and should be done so that access to these is facilitated. According Tarouco (2003, p. 02) , the benefits are: accessibility, interoperability (using components developed in a location or other places with some set of tools or platforms) and durability.

V. ACCESSIBILITY FOR THE DEAF THROUGH AR

One can say that accessibility is to ensure, especially to people with disabilities or reduced

318 Senses&Sensibility’13 mobility, conditions for safe and autonomous use of spaces, furniture, products and information.

Through sensory stimuli, using cameras, projections, virtual glasses for viewing 3D objects and other display forms of AR, the deaf will be able to view self-explaining animations of the main themes and issues of the various disciplines, thus, generating qualitative conditions to their understanding and learning under a pedagogical commitment, as one can see in the images shown in this article.

Thus, the link between these forms of AR display with the application of files of interactive multimedia learning based educational, allows accessibility for deaf people in general. The main characteristic of such environments is that the information from the real world are used to create a setting enhanced with computer-generated elements (C.A. Dainese, et, al, p. 273).

On the insertion of the deaf in virtual environments is important to note that:

(…) for the deaf child, it is necessary to provide environments with visual resources that will ensure and exceed the hearing needs. All information should be planned so that the child will be very well motivated to perform the activities. Reinforces used must ensure that the child will have an interest and, especially, will retain information and will perform association and

reflection on the activities (GARBIN, et. Al, p. 34).

However, although there are several forms of information disclosure, it should be considered the characteristics of their possible receivers, so that they have guaranteed accessibility in communication.

About it, Torres et al. (2002, p. 88) points out that “it is necessary that in each environment, cares should be taken in this direction, in which suggestions are made for the environment of a library that provides the features of information technology and communication to their users”, and shall comply with the following:

. Adequacy of accessibility for users with limitations associated with hearing (aims to meet the users with low hearing and the deaf, whether or not oralized. Should be noted that among these users, not all of them can communicate via Libras, which is the Brazilian Sign Language);

. Audiovisual materials should be labeled, preferably with both text subtitles and via Libras signs;

. Options for volume control in the hardware available by the library for the use of these users;

Senses&Sensibility’13 319 . Visual access to sound information (through textual or pictorial transcription) and a visual cue for the events of the system in use (such as the states of the system, sending and receiving messages on the Internet, etc.);

. Services for text transcription of oral digital documents. (TORRES et. al., 2002, p. 88)

In the case of the deaf oralized, information technology and communication to be employed (ICT) should be one whose primary function is access to knowledge and information both within the classroom, the different levels of education, with also at conferences, symposiums, forums and other events (GUEDES; TORRES, 2005, p. 02).

Among the technologies that have the potential to be used by deaf people oralized stands teaching distance learning through the use of video conferencing with high-speed Internet (allows lip-reading), navigation in environments created with Web hypermedia redundancy features (sites Web, intranets), proposing thus a study that aims both to its improvement and the development of methodologies to better use by persons who are deaf oralized (GUEDES; TORRES, 2005, p. 02-03).

VII. CONCLUSION

Therefore, this article was based on the idea that despite limited hearing, the user can freely access web pages containing texts, images and videos with the use of more interactive interfaces proposed by AR. Thus, it is envisaged that the use of AR by LOs tends to aid in the conception of this idea, allowing access to information in their respective user interface, and bringing the user to technology.

The use of LOs becomes an increasingly important alternative in this context, being used mainly in distance learning courses, expanding the professional field of multimedia production and its performance space.

So, it was possible to observe a number of alternatives offered by the LOs, such as devices used in the head that overlap the AR in transparent lenses, enabling the visualization of real images with virtual information; video capture for cameras with a background and to overlay opaque display; using projectors with direct projection on physical objects that require the use of glasses or monitors; lenses partially transmitted, so that the user can look through them and see the real world; use of projectors with direct projection on physical objects that require the use of glasses or monitors and colored lycra gloves that allow to translate gestures made by

320 Senses&Sensibility’13 hand using the glove gestures in the 3D model.

Moreover, one must consider the linguistic features involved in the process of user navigation of deaf speaker of Brazilian Sign Language – Libras, so this perspective is sufficient to meet fully the principles of e-accessibility in learning process.

Thus, the accessibility of deaf communication through AR is a major factor for the full exercise of their citizenship, as well as a contribution to a better integration and social inclusion.

In order to meet the accessibility needs of deaf communication it is required a higher level of awareness by both the academic community and the society, since there is a great need in this regard and the feasibility of a process of learning through AR, using interfaces more interactive, allows to develop based educational learning objects that help the hearing impaired to understand better the world through the electronic-digital way.

REFERENCES

[1] AZUMA, R. T. A Survey of augmented reality. Teleoperators and virtual environments, v. 6, n. 4, p.355-385, 1997.

[2] C. A. Dainese, T. R. Garbin, e C. Kirner. Augmented Reality System for the Development of Deaf Children, In:VI Symposium on Virtual Reality:, 2003. Ribeirão Preto - SP. SBC, 2003

[3] GARBIN,Tânia Rossi; DAINESE, Carlos Alberto; KIRNER, Cláudio; SANTOS, Analis Michele; JESUS, Márcia Aparecida. Evaluation Interface System Augmented Reality for Deaf Children based on constructionism. Available: http://www.lbd.dcc.ufmg.br/colecoes/wra/2004/009.pdf. access 05 jul. 2013

[4] GUEDES, Anahi de Mello; TORRES, Elisabeth Fátima. Accessibility for deaf individuals with oral communication: Contributions of Information Technologies and Communication. Paper prepared for the 5th Ibero-American Congress on Computers in Education Special – CIIEE 2005, Montevidéu, Uruguai. Available: http://www.escoladegente.org.br/noticiaDestaque. php?id=447. Acess 23 feb. 2013

[5] KENSKI, Vani Moreira. Education and Technology: the new rate information. 6.ed. Campinas: Papirus, 2010.

[6] KIRNER, C.; TORI, R. Foundations of Augmented Reality.In: R. Tori; C. Kirner; R. Siscoutto (Eds.); Fundamentals and Technology of Virtual and Augmented Reality.p.22-38, 2006. Porto

Senses&Sensibility’13 321 Alegre: SBC.

[7] PEREIRA, A.S. Development of a hypermedia learning on Energy for an introduction to physics. Proceedings of the XXIV Journey of Scientific Initiation,UFRJ, 2002.

[8] REZENDE F. e BARROS, S. Souza. Discussion and conceptual restructuring through the interaction of students with guided tours of the system F & M. . Brazilian Journal of Research in Science Teaching.ABRAPEC. 1:2, May/August, 2001.

[9] SILVA, Marco. Info Exclusion and digital literacy: challenges for education in the information society and cyberculture. In: FREITAS, Maria T. A. (org.) Cyberculture and teacher training. Belo Horizonte: Autêntica publishers, 2009.

[10] TAROUCO, Liane. CESTA – Collection of entities using Support Technology in Learning.2003. Available http://www.cinted.ufrgs.br/CESTA/. Acess 23 feb. 2013

[11] TORRES, E. F., MAZZONI, A. A. e ALVES, J. B. M. A Accessibility to Information in Digital Space. Information Science.Brasília - DF - Brasil: v.31, n.3, p. 83-91, 2002. Available: http://www.ibict.br/ cionline/310302/3130209.pdf. Acess 23 feb. 2013

322 Senses&Sensibility’13 The Rules of the Game - Gamification Processes in Building Brands

Walter F. Stodieck, Carolline Müller Chaves, and Luiz Salomão Ribas Gomez Laboratório de Orientação da Gênese Organizacional – LOGO/UFSC, Florianópolis, Santa Catarina, Brasil

Abstract — Several companies on current has been adapting in order to differentiate themselves from one another in the expectation of achieving a better way within your specific niche market which are inserted. Adapting is necessary since the great emergence of new brands that have the clear intention of winning people through new experiences of each. In this regard, the company needs to know to know what are the factors that differentiate it from its competitors, these factors will be identified at its core, from your dna. It is from this dna that organizations determine all its strategic actions to have its position according to the values that the brand believes. These values and other concepts like vision, mission and culture of the organization are part of the essence of your brand, identified by their dna, which is built according olhats et al. (2011), within a co-creative process involving the company and its stakeholders sharing the experiences that both have about the brand. Hoping to get better results through the co- creative processes, has emerged in this context processes that value the creative experience in time to identify these concepts that form the dna of the brand. Such experiments can be compared to a game that has, according gray, brown and macanufo (2012) objective space, boundaries, rules, artifacts and targets to be achieved according to the progress of the experiment. This article aims to study gamification within the processes of building a brand as a motivational factor and differentiator within organizations such time define their positions and strategic actions. Bibliographical research on the subject will guide this work in order to have a better understanding of how the processes and all its elements, so that they can have a better application in construction and brand differentiation of each organization.

Index Terms — branding, brand dna, gamification.

I. INTRODUCTION

We are immersed in a scenario where brands need to build emotional connections with

Senses&Sensibility’13 323 consumers, presenting the need to develop strategies and actions to promote the renewal and updating its collection symbolic, so that they can differentiate which are inserted with order to provide new experiences for people.

It is then necessary in order to differentiate that organizations develop capacity to renew and innovate, remaining in the unconscious of people through experiences with their brands, being able to adapt to changes in the socio-cultural environment of the market, which influences and is influenced by consumer behavior.

In this context appears Branding, which can be characterized as the set of actions related to the administration of the brands. These actions, taken with knowledge and expertise, lead the brands apart from its economic nature, becoming part of the culture and influencing people’s lives. Are actions with the ability to simplify and enrich our lives in a world increasingly confusing and complex (MARTIN, 2006). In the area of branding, there is the concept of Brand DNA, which deals with the essential characteristics of a brand, built, according OLHATS ET AL. (2011), within a co-creative process involving the company and its stakeholders, sharing the experiences that both have about the brand.

In this article, a survey is established branding and design management to reach the main objective of the article, which is studying tools that assist in building the “brand DNA”. This is a differentiating factor in organizations: the application of concepts and values that help the company to have a better understanding of its operation and all the elements that surround it, so you can stand out from other companies.

II. BRANDS AND BRAND DNA PROCESS

One can consider that brands today are more than just how a product is recognized, they are the representation of a cause they represent. Much more than a graphic symbol, the brand connects with people, according Rodrigues (2011) through different touch points, such as name, sounds, smells, how they connect with their customers, among others.

324 Senses&Sensibility’13 Fig. 1. Brand Contact Points (Source: Personal archive of the author).

A brand today, according Stodieck, Dutra and Gomez (2012) sells more than just your product or service, it sells the immaterial beyond the material, a cause he believes and stands for. By assuming a cause, the brand takes a function archetypal that will connect with people through experiences thus strengthening in consumer memory.

These experiences provided by brands and experienced in day-to-day life of its consumers is the result of taking this stance before the market which is inserted. To Govindarajan and Trimble (2005) this approach comes from “corporate DNA”, an innovative way to apply the concepts and values that guide the company and will help to understand better the way it works and all the elements that surround it, differentiating so the brand from its competitors earn its place in the market.

The DNA of the brand emerges as a metaphor to the DNA of living organisms, where it differs from every being. Nowrah (2006), says that the “brand DNA” can be understood as the DNA of a living being, Since it carries all the characteristics of the organization, reflecting their values and image in society.

It is through this DNA that the brand will communicate with people, no longer imposed a

Senses&Sensibility’13 325 brand to become one to talk to people, a brand emotional for Gobé (2001), creates a unique relationship with your client, wrapped in mystery, sensuality and intimacy.

With the intention of helping and even facilitate the process of identification and validation of the DNA of a brand, methodologies such as Process Brand DNA appear to offer ways in which to guide the construction of concepts differentiating brand through a co-creative process.

Created from the knowledge of design, branding and brand DNA, the DNA Process Brand comes to promote the identification of differential concepts surrounding one such brand which DNA in living organisms that differ. It functions as a process, where the organization and its stakeholders share meaningful experiences both emotional and functional with the brand.

This process aims to identify the brand what are your differential elements that will create the much longed for authenticity trademarks with their consumers. By identifying the organizational DNA using the Brand DNA Process causes the end of the second Lopes and Gomez (2012), 4 concepts reach them being an emotional a resilient one merchandising, a technician and a fifth integrator that binds to the four previous elements, thus generating Brand DNA itself just as the living beings who have in their carbon chains a set of information that differ from other living beings.

Their co-creative nature, can be considered as an essential aspect of Brand DNA process, as it seeks by inserting stakeholders of the brand, an outside view and not vitiated as it does to seek information about this only with their managers. For Olhats (2012), the process causes longer mark centered in the company to become centered on the consumer.

For the author, co-creation can be considered as a key element in the process as a whole, since this turns out to generate a dialogue between the company, its stakeholders and the designers behind the application process. This makes the Brand DNA process to give the brand a personality truly genuine.

By studying each stage of the Brand DNA process, it is clear that co-creation permeates from its inception to its final stage, it is participating in each stage of the process, or to validate each step, ensuring that the brand is built on its thought consumer and not just what she wanted to be.

The application of Brand DNA Process currently occurs in five steps. Always being between each a validation of the same customer, making it a piece participating in this process.

326 Senses&Sensibility’13 1. DIAGNOSIS;

2. CREATIVE EVENT;

3. CONSTRUCTION OF BRAND DNA;

4. BENCHMARKING;

5. FINAL REPORT.

Being a co-creative process created in academic design, he ends up winning forces to use in your course visual thinking, coming to assist the work through the use of images and visual tools that create connections in memory and brand building.

III. BRAND DNA PROCESS AND VISUAL THINKING

Because it is a co-creative process, and the interpretation of the information received during the stages varies between each participant, it becomes essential to use tools that facilitate and simplify the understanding of the process, making it understandable for everyone. In this context there is visual thinking, a way of thinking that appropriates the use of pictures and other artifacts bringing up ideas and results that would previously have been difficult to understand.

Thinking visually means benefit from their innate ability to see with both eyes as true with the mind’s eye, in order to discover ideas that would otherwise be invisible, develop those ideas quickly and intuitively, then, compartllhá them with others so that they are quickly “clarified”. (ROAM, 2012).

Osterwalder and Pigneur (2011) define visual thinking as the use of “visual aids such as pictures, sketches, diagrams, and post-its to build and discuss meanings.” As for Roam (2012), visual thinking is something greater than the mere use of visual tools, but a process of value that redeems the necessity of the role of “seeing.”

Understanding visual thinking as a process full means that the starting point is not to learn to draw better, is to learn to look more closely. For this reason the process is valuable. (ROAM, 2012).

IV. THE GAMIFICATION OF THE BRAND DNA PROCESS

Having in mind a better functioning of Brand DNA process and a greater understanding of the participants, the experience appears to apply the process within companies as if it were a

Senses&Sensibility’13 327 game, where the goal of this is to identify and validate the DNA of the brand along with their stakeholders.

The idea of turning the process into a game, arises from the essence of this study, which has not only a goal to be achieved as well as rules, artifacts, goals, boundaries and even a space that will guide the entire process through to completion, generating a participatory experience for all involved. According Gray, Brown and Macanufo (2012), such a process can be considered a game so the adaptation of Brand DNA process to a kind of game is nothing more than a natural evolution of the process in its essence.

Therefore, when using the concept of visual thinking gamification added to the Brand DNA process, it becomes more necessary to organize each step and their tools in a kit own process in order to facilitate the understanding of this and generate both the user experience that will be conducting, as participants to observe the process from the beginning.

Thus, we can list some tools that comes to generating new experiences with people making the process enjoyable and easy to understand by those who use them, as follows:

- Manual;

- Poster;

- Block annotation for brainstorming;

- Block annotation of concepts;

- Post-Its;

- Pen Hidrocor;

- Pencil writing;

- Rubber;

- CD with presentation.

To Kahney (2008), the act of handling the objects as part of the process helps the user to get a better sense of how this works. Added to this, the visual thinking process strengthens the handling of tools, making part of the participants thereby confirming the co-creativity of the process.

Among these tools mentioned, some exert decisive roles in how the Brand DNA process is conducted, such as the Post-Its. That according to Osterwalder and Pigneur (2011) act as carrier

328 Senses&Sensibility’13 ideas that can be added, removed, displaced, or even among components of the process.

This is important because, during the discussions, people often do not agree with what elements should immediately enter the frame, or where they should be placed. During the

exploratory discussions, some elements can be removed and replaced multiple times to explore new avenues. (OSTERWALDER and Pigneur, 2011).

Using pens hidrocores ultimately facilitate the display and visualization of concepts written on each Post-It by all participants and can easily locate each during the discussion process.

The poster of the process being viewed by all participants work as a visual language of what is happening but with its own grammar and correspondent. In it are embedded information showing that parts and information will be used in each step of the Brand DNA Process.

Already a presentation on Brand DNA process used to generate the understanding of all participants in a didactic way and that can be understood by all, or mostly, creating a shared understanding of how the process works.

Everyone in an organization need to understand your model because everyone can potentially contribute to its improvement. At least the staff need a shared understanding, so that they can move in the same strategic direction. The visual description is the best way to create such shared understanding. (OSTERWALDER and Pigneur, 2011).

The manual Brand DNA process is more a manual operation to be used by managers of the process and helps to explain more formally how the same, bringing examples and sample letters and presentations to be used during the process.

Finally, other tools eventually complement the process so that participants can make notes of any concepts or other information with respect thereto been contributing in the development of the construction of organizational DNA. New tools can be added to the Brand DNA Process been expanding and enhancing the operation and implementation, bringing new experiences for both its participants and organizers.

V. CONCLUSIONS

By creating a strong emotional appeal to their customers, brand building ends with these a good and lasting relationship, where they create a life story together. For this to happen, innovation and discovering new ways to communicate, it becomes necessary for new

Senses&Sensibility’13 329 experiences arise between them and easily be fixed in the memories of those who intends to reach the brand.

To innovate requires a combination of people who have ties internal and external to the organization, their skills and points of view, bringing new solutions to companies that want to differentiate themselves. In this sense, the process of constructing a DNA tag becomes extremely efficient since it involves not only the members of an organization but also stakeholders and other persons who somehow be involved with the brand, a building essence in a co-creative process.

Throughout this work, it was possible to see the Brand DNA Process as a methodological process in favor of co-creation which, besides motivating organizational culture to live your DNA, is assisting the understanding by the organization through new experiences that allow at each participant in the process, assume a key role in the organization of the DNA construction.

The use of the process as a game that strengthens the process of visual thinking in the application of Brand DNA process becomes essential for professionals who wish to apply the process in any organization that may work. Or as strengthens ROAM (2012), the toolkit can be taken anywhere to help analyze problems, imagining ways to solve them and showing solutions to others.

REFERENCES

GOBÉ, Marc, 2001. A Emoção das Marcas: Conectando Marcas às Pessoas. 1st ed. Campus: Rio de Janeiro.

GOBÉ, Marc. BrandJam: O Design Emocional na Humanização das Marcas. Rio de Janeiro: Rocco, 2007. 381 p.

GOMEZ, Luiz Salomão R. in CANTISTA, Isabel. A Moda num Mundo Global. organização Isabel Cantista, Francisco Vitorino Martins, Paula Rodrigues e Maria Helena villas Boas Alvim. Porto: Vida Econômica, 2011

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Senses&Sensibility’13 331

Index of Authors

A

Alice Theresinha Cybis Pereira, 154 Alvaro Dias, 261 Amanda Machado Zwirtes, 11 Amanda Queiróz Campos, 11, 20, 29, 38 Ana Margarida Ferreira, 270 André Luis Carrilho, 38

B

Berenice S. Gonçalves, 62

C

Carine Adames Pacheco, 45 Carolline Müller Chaves, 323 Cristina Colombo Nunes, 11

D

Daniel Augusto Soares, 205 Daniele Vasques Dutra, 54 Dayane Alves Lopes, 213 Deglaucy Jorge Teixeira, 62 Dinara Pereira Lima, 72 Douglas Menegazzi, 145

E

Edmilson Rampazzo Klen, 108 Eduardo Napoleão, 80 Érico Fernando Baran Gonçalves, 90 Eugenio Andrés Díaz Merino, 128,

F

Fernando Sharp Jeller, 108 Francieli Balem, 99 Francisco A. P. Fialho, 253 G

Gabriel de Souza Prim, 108, Giselle Schmidt A. Díaz Merino, 128 Gloria Angélica Martínez de la Peña, 226 Graciela Sardo Menezes, 279

H

Hilário Jr. Dos Santos, 205

I

Igor Drudi, 72 Iuri Alencar, 72

J

Jessica Siewert, 118 Julio Monteiro Teixeira, 128, 307

K

Keith Russell, 137

L

Laryssa Tarachucky, 145, 253 Ligia Sampaio Medeiros, 164 Lucas Franco Colusso, 154 Lucy Niemeyer, 235 Luiz Salomão Ribas Gomez, 29, 38, 45, 54, 80, 99, 145, 213, 253, 279, 323 Luiz Vidal Gomes, 164

M

Manuel Duarte Pinheiro, 270 Marcelo Knelsen, 72 Marcos Brod Junior, 164 Maria João Durão, 179 Marilia Matos Gonçalves, 213, 315 Mary Meürer Lima Vonni, 118 N

Natacha Antão Moutinho, 179 Nil Santana, 188, 197

P

Pablo Eduardo Frandoloso, 205 Patrícia Biasi Cavalcanti, 45 Paulo Fernando Crocomo dos Reis, 213 Pedro Marques, 220

R

Raquel Ponte, 235 Renata Krusser, 244 Richard Perassi Luiz de Sousa, 11, 20, 80, 261, 279 Roger C. Pellizzoni, 253

S

Sandra Regina Ramalho Oliveira, 261 Santa Klavina, 270 Sarah Machado Wagner, 213 Sarah Schmiegelow, 29 Susana Vieira, 279

T

T. García Ferrari, 288 Tatiane De Cássia Ortega Rausch, 297 Tiago R. Mattozo, 307

V

Vera Helena Moro Bins Ely, 45 Viviane Pellizzon Agudo Romão, 315, 315

W

Walter F. Stodieck, 323