Víctor Stefan Pires Geuer
Víctor Stefan Pires Geuer is currently a CAPES scholarship holder in the doctoral program in Arts and Design at the Pontifical Catholic University of Rio de Janeiro – PUC-Rio. holds a degree in Product Design from the Centro Universitário Ritter dos Reis (2018) and a master's degree in Strategic Design from the University of Vale do Rio dos Sinos – Unisinos (2023). He ws a co-founder, as well as both the creative and production director of the brand Humanus. With interests in the relationships between the fields of art, philosophy, and design, he researches topics related to ethics, creativity, language, communication, and culture.
Articles of Víctor Stefan Pires Geuer
Flusser e o Design Por Trás de Todos os Valores
This article proposes a philosophical reading of the notion of design in the work of Vilém Flusser, highlighting his critique of the modern separation between art and technique. Far from defining design as a stable or professional disciplinary field, Flusser understands it as a way of thinking that highlights the artificiality of the world and destabilizes the claims of objectivity in Western epistemology. Instead of asking what design is, the author invites us to inquire how it materializes and leads us to act. Design, then, rather than just a project, becomes a device capable of trickery, a practice of symbolic, ethical, and political creation that transforms the world into a fictional surface that is continuously (re)designed.
Reflexões Acerca da Ética do Artificial - Do Paradigma de Simon ao Paradoxo de Flusser
This essay aims to develop a critical dialogue between Herbert Simon’s and Vilém Flusser’s ideas about design by focussing on Simon’s The Sciences of the Artificial (1996) and a collection of Flusser’s writing on design, Codified World – towards a philosophy of design and communication, (Rafael Cardoso, ed., 2006). The essay begins with an analysis of the differences between the concepts of artificiality and project-design, contrasting the Simonian postulate of problem solving with the paradoxical Flusserian notion of obstacle for removing obstacles. Simonian utilitarianism and his discourse of technical neutrality are questioned by Flusser’s ideas about the need for a post-industrial design ethics. If Simon’s utilitarian approach concentrates on the technical efficiency of artifacts, Flusser’s existentialist perspective focuses on the communicative and dialogic aspects of objects, emphasizing the issues that revolve around the freedom and responsibility inherent in every creative act.