Die Blume der Wahrnehmung: design e distração em Bruno Munari e Walter Benjamin

Abstract

This study analyses the convergence between perception, art and technical reproducibility in the thought of Walter Benjamin, Bruno Munari and Maurits Cornelis Escher. The research examines how technical evolution has modified human perceptions and established new forms of mass artistic receptivity. Benjamin proposes that distraction, unlike erudite contemplation, enables the masses to absorb and propagate artistic knowledge revolutionarily. This concept functions as a formative process whereby the public develops new perceptual habits through aesthetic experience. Munari defines the designer as mediator between art and public, integrating design as accessible artistic manifestation through visual communication. Escher contributes with explorations of visual perception, creating images that challenge traditional understanding through geometric transformations. The methodology combines theoretical analysis with practical creation, developing a work that transforms tulips into clitorises through symmetries inspired by Escher. The project questions boundaries between physical and digital art in contemporary design. The results demonstrate that both objects constitute designer artworks, validating Benjamin's proposal for art politicisation. The convergence of the three theorists establishes a continuous formative process that integrates perception, technique and aesthetic experience as fundamental elements for the artistic revolution of the masses