The design in the cotidianity

Byr Abraham C. Millán

Once uppon a man that arrived nude to the world and vulnerable to the environment. One day he had a need and he could not settle it with his knowledge acquired, as soon as the man sought help outside himself. A prehistoric man that used a rock to break a bone. No prehistoric man would imagine that he would happen to the history as the transformer (and the first designer) of the mankind and of its world. At present we do not imagine that we move ourselves unwittingly due to our appetites, those which are of different natures as the aesthetic.

The aesthetic term (aisthesis) in its original and real meaning, it is considered as the sensorial perception. We are in constant contact with the design due to our appetite by what is aesthetic, we acquire and we consume aesthetic products and material products that satisfy our needs. As soon as we find ourselves deep inmersed mainly in two cultures, the material that understands the production and products distribution, and the aesthetic culture that understands two basic realities:

1. the needs of material subsistence (aesthetics sensibility)
2. the spaces of the household, school and work (harmonizes the cotidianity).

In this way we have house landladies that clean floors with a certain product while they are listening the radio stations or they watch an soap opera, children that run to the magazines post to acquire the last series of their favorite super heroes, family chiefs that leave course to their work after having getting "informed" with the last television news. We can note that currently we possess ideal and feelings of beauty that permit us to carry an aesthetic life very active without having no contact with the arts.

But the aesthetics sensibility does not operate so only in a specific day, neither is devoted exclusively to the arts as many people believe. The aesthetics sensibility rather seeks the sensory knowledge of the reality, as opposed to the arts that incorporate a cultural system as a rule, and in particular certify an aesthetic system with its internal laws. It is this the actual aesthetic environment¹, it is the design in the cotidianity.

The aesthetic environment has been seen modified throughout the history and in each culture, it was religious when the church was exercising the power, but the bourgeois state and the capitalism deprived that power and taken advantage in their own benefit the technological science and the communication to make perfect the persuasive resources and manipulators of the human will. "The technology covers the industrialization with its machines, tools, procedures and products, encompasses the organization of the human behaviors". One of the problems of the underdeveloped countries as ours (México), bases in the impossibility of controlling the mass media and of channeling the effects of the artistic production and of the designs. The mass media act in the daily life and in the free time of the modern man, encourage its craving by what is aesthetic vitiating thus the aesthetic environment with five deceits that already they have been converted into axioms at an international level:

1. The art is beauty, is confused all that it is beautiful and sweet.
2. The art is entertainment and amusement..
3. The art is feeling, with what is preferred the most common and dramatic tear sentimentality.
4. The art is staunch representation of a viable reality.
5. The art is religion.

To speak of the current aesthetic environment is like referring to the mass media that primarily inculcate and spread pseudoaesthetic consumption as the massive, the trivial and the most common. The real aesthetic consumption spares, furthermore the artistic. Contrarily to the prehistoric man that sought to settle a need outside of his scope, the modern man no longer has needs that to settle by himself due to the fact that has nearly all in the palm of his hand. To be have converted into consumer pays to other men to solve their consumption problems, the designers. Concluding we can recognize that the dessign in itself is a society-cultural phenomenon that is converted into an indissoluble unit of its production, distribution and consumption and that because of this the capitalism and the socialism does recognize the social importance of the design and because of this they were conformed.

Bibliography: Theory of the designs. Acha, Juan (John).
1. Juan(John) Acha defines in his book Theory of the Designs to the aesthetic environment as an eco-aesthetic.