Design and Art in the connective imagination

Art and Design have been accomplices throughout the twentieth century in building one desire with pre-existing visions of the future of what the other has then tried to achieve and put into circulation, in the disposal of the masses. It will be Dadaism with the widespread use of the idea of “interpretation”, as a meaning of the work of art, to completely change the weight of the importance of “contamination”. If everything is contaminated and if total contamination is a systemic fact, it is no longer important to force the search for the origins but to relocate the phenomena according to the development of their “combinations”. The emergence on the world stage of the need to question the Webness raises new awareness. The widespread possibility of access to new technologies leads “collective intelligence” to become “connective”, the difference is that now not only humans are connecting with each other or with machines, but also machines are interconnected. The speed and enormous capacity of data processing systematically lead to the exploration of new combinations. Algorithms are able to process unthinkable amounts of data and therefore act autonomously to configure completely new and uncontrollable images and forms. In artistic practices and design, there is an ever-increasing need for “meta-projects”, i.e. a reflexive and above all critical design of the systems with which it is designed. If it’s true that the model is more calculated rather than designed, overall all the aspects of the design methodology must be questioned. A paradigmatic shift of attention from the “final product” to the “process to obtain it”. The design process acquires sensitive variations with the “generative programming”, where a series of events produces a result that is never completely foreseen, but that needs to preserve in the final result the principle that generated them. A new awareness of technological potential.