Música colorida
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Arquivos
Data
2014
Tipo de documento
Dissertação
Título da Revista
ISSN da Revista
Título de Volume
Área do conhecimento
Linguística, Letras e Artes
Modalidade de acesso
Acesso aberto
Editora
Autores
Maurilio, Rafael Hoffmann
Orientador
Moraes, Heloisa Juncklaus Preis
Coorientador
Resumo
Este trabalho toma a cultura jovem dos anos 60 ¿ mais especificamente o movimento psicodélico em São Francisco ¿ como objeto de estudo pelo fato de ser uma das primeiras manifestações jovens com características distintas na música e no comportamento e pelo fato de ser consolidada através de manifestações em diferentes campos, como o das artes gráficas. Ao analisar e compreender a formação do movimento mostrou-se como se deu o desenvolvimento da linguagem gráfica que seria característica desse grupo através de uma pesquisa exploratória bibliográfica com o cruzamento de autores e teorias para, além de entender a origem do movimento, estabelecer as suas influências na música e, principalmente, no design gráfico, identificando as principais características estilísticas (cores, formas, tipografia, etc.) da produção gráfica do período. Em um segundo momento é apresentada uma análise de pôsteres de shows produzidos em São Francisco entre 1965 e 1969, o auge do movimento, e criados pelos principais artistas da região ¿ Wes Wilson, Stanley Mouse e Alton Kelley, Rick Griffin e Victor Moscoso. Por fim, ao identificar e analisar essas características estilísticas pôde-se compreender como elas passaram a ser uma extensão visual da experiência estética e ideológica e da identidade cultural do movimento. Dessa forma, os pôsteres passaram a exprimir o que às vezes a canção não conseguia, servindo de apoio para narrar o contexto social e cultural no qual estava inserido, e acabaram tornando-se um contragolpe, provavelmente inconsciente, ao formalismo e rigidez do estilo de design que era referência na época. Esse resultado mostra que a análise da arte gráfica pode ser uma forma de conhecer melhor a cultura daqueles que a produziram, pois ela reflete e reage ao meio social e cultural em que está inserida.
This work takes the youth culture of the 60s - specifically the psychedelic movement in San Francisco - as an object of study because this was one of the first youth demonstrations with distinct characteristics in music and behavior, besides being consolidated through demonstrations on different fields such as graphic arts. Analyzing and understanding the formation of the movement intend to show how was the development of graphic language that would be characteristic of this group. To reach this goal, a bibliographical exploratory research is presented with the intersection of authors and theories in seeking to understand the origin of the psychedelic movement, establish their influences in music and graphic design and identify key stylistic features (colors, shapes, typography, etc.) of the graphic production of the period. In a second step is presented an analysis of posters of shows produced in San Francisco between 1965 and 1969, the heyday of the movement, and created by leading artists of the region - Wes Wilson, Stanley Mouse and Alton Kelley, Rick Griffin and Victor Moscoso. Finally, identifying and analyzing these stylistic features, was possible to understand how they become a visual extension of the ideological and aesthetic of psychedelic experience and also an element of cultural identity of the movement. Thus, the posters help to express what sometimes the song couldn't, serving as support to narrate the social and cultural context in which was inserted, and becoming a backlash, probably unconscious, to the formalism and rigidity of the design style that which was reference at the time. This result shows that the analysis of the graphic art can be a way to better understand the culture that produced it, since it reflects and responds to the social and cultural environment in which it operates.
This work takes the youth culture of the 60s - specifically the psychedelic movement in San Francisco - as an object of study because this was one of the first youth demonstrations with distinct characteristics in music and behavior, besides being consolidated through demonstrations on different fields such as graphic arts. Analyzing and understanding the formation of the movement intend to show how was the development of graphic language that would be characteristic of this group. To reach this goal, a bibliographical exploratory research is presented with the intersection of authors and theories in seeking to understand the origin of the psychedelic movement, establish their influences in music and graphic design and identify key stylistic features (colors, shapes, typography, etc.) of the graphic production of the period. In a second step is presented an analysis of posters of shows produced in San Francisco between 1965 and 1969, the heyday of the movement, and created by leading artists of the region - Wes Wilson, Stanley Mouse and Alton Kelley, Rick Griffin and Victor Moscoso. Finally, identifying and analyzing these stylistic features, was possible to understand how they become a visual extension of the ideological and aesthetic of psychedelic experience and also an element of cultural identity of the movement. Thus, the posters help to express what sometimes the song couldn't, serving as support to narrate the social and cultural context in which was inserted, and becoming a backlash, probably unconscious, to the formalism and rigidity of the design style that which was reference at the time. This result shows that the analysis of the graphic art can be a way to better understand the culture that produced it, since it reflects and responds to the social and cultural environment in which it operates.
Palavras-chave
Arte - Linguagem, Artes gráficas, Cultura, Movimento da juventude