INCOMPLETUDE AESTHETICS: IMAGETIC SPEECH IN GRAPHIC DESIGN STUDIES

Abstract

Affiliated with the theoretical propositions of Discourse Analysis (FOUCAULT, 2016; PÉCHEUX, 2018), this research assumes that every signifier is incapable of meaning everything: if language is impossible to say everything, image is impossible to show everything. The image is always incomplete, it is lack, desire for a completeness that can only be sought in other images; imagetic significance, therefore, must be sought not only in the visible of the image but also in what it lacks. This lack is constituted by the outfield and the extrafield (AUMONT, 2012), but also by graphic reminiscences that precede the meaning in the moment of the spectator's encounter with the visible image. In Discourse Analysis this collective memory is called Discursive Memory, an effect of discourse that provides assumptions that regulate meaning from already-meaning. However, to support the notion of Discursive Memory in the field of studies of image and graphic design, we propose the notion of Discursive Imaging Memory, seeking in the conception of Graphic Memory, as proposed by Priscila Farias (2016), foundations for an imagetic discursive practice. based on the relationship between image and visual culture, thus proposing a theoretical view of graphic design practices that takes into account notions such as history, ideology, discursive memory and subject.