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espanolEste ensayo examina si el diseno contemporaneo esta experimentando un declive en sus estandares de calidad profesional y pedagogica, debido a una crisis de identidad que aparentemente ha estado afectando el campo desde finales de los anos sesenta. A la luz del imperativo de “rectificacion de nombres” de Confucio, se exploran diversas implicaciones linguisticas y esteticas asociadas con la supuesta perdida de puntos de referencia conceptuales de diseno de la propia identidad y definicion de la disciplina de diseno y la profesion. Analiza situaciones concretas en las que las narrativas sobre diseno aparentemente debilitan sus vinculos con la realidad exterior objetiva, lo que podria conducir al deterioro de patrones y canones de excelencia previamente valorados y nutridos en terminos tecnicos, esteticos, linguisticos, metodologicos y, sobre todo, morales en la disciplina del diseno. Tambien se presta atencion a una tendencia relativamente comun mostrada –a menudo, pero no siempre– por los “especialistas en neo-diseno” de borrar los limites conceptuales en torno al campo del diseno, a fin de establecer subdominios dentro de la mayor disciplina del diseno. Estos tienden a estar marcados por terminologia pleonastica y tautologica, pero no obstante impresionante, como “diseno de informacion”, “de interfaz”, “de interaccion”, “centrado en el usuario”, “de experiencia del usuario”, “de comunicacion”, “diseno experimental”, “de autor”, “diseno de artesanias”, “diseno moderno”, “diseno contemporaneo”, “diseno emocional”, “meta-diseno”, “diseno sostenible”, “sistemas de diseno”, “pensamiento de diseno” y mas, que luego subdivide el territorio de diseno entre varios “especialistas en diseno de nuevos disenos”, al sugerir, en algunos casos, la posibilidad de aislar atributos conceptuales (como, respectivamente, “informacion”, “interfaz”, “interaccion”, “experiencia del usuario”, “interfaz de usuario”, “diseno de modelos conceptuales y enfoques metodologicos”, etc.) desde la propia identidad de la disciplina de diseno integral. En este contexto, el mensaje de Confucio de la “rectificacion de nombres” puede ser percibido como un llamado importante y oportuno. EnglishThis essay examines whether contemporary design is undergoing a decline in its standards of professional and pedagogic quality, due to an identity crisis which has apparently been affecting the field since the late sixties. In light of Confucius’ “rectification of names” imperative, various linguistic and aesthetic implications associated with the alleged loss of design conceptual benchmarks of the very identity and definition of the design discipline and profession are explored. It analyses concrete situations in which narratives on design seemingly weaken its bonds with objective exterior reality, arguably leading to the deterioration of previously valued and nurtured patterns and canons of excellence in technical, aesthetic, linguistic, methodological, and, above all, moral terms in the discipline of design. Attention is also given to a relatively common trend displayed – often, but not always– by “neo design specialists” of erasing conceptual boundaries around the design field, in order to establish subdomains within the greater discipline of design. These tend to be marked by pleonastic and tautological, but nevertheless impressive terminology, such as “information design”, “interface design”, “interaction design”, “user-centered design”, “user-experience design”, “user-interface design”, “communication design”, “experimental design”, “authorial design”, “handicrafts design”, “modern design”, “contemporary design”, “emotional design”, “meta-design”, “sustainable design”, “design systems”, “design thinking” and more, which then subdivides the territory of design amongst various “neo-design specialists” by suggesting, in some instances, the possibility of isolating conceptual attributes (such as, respectively, “information”, “interface”, “interaction”, “user experience”, “user interface”, “design conceptual models and methodological approaches” and so on) from the very identity of the integral design discipline itself. In this context, Confucius’ message of the “rectification of names” may thus be perceived as an important and timely call.

cuadernos del centro de estudios en diseño y comunicación. ensayos

Design amidst Feuds and Fields: The timeliness of the “rectification of names” proposed by Confucius in the contemporary Babel of newlyforged, catchy concepts, terms, and expressions in the field of design