With the current crisis of globalization, it no longer makes sense to consider art and design as oppositional. The uncertainty about the future and the simultaneity of the choices we are called upon to take, are some of the factors that link artistic and design cultures, paradoxically called into question to alleviate a condition of disorientation and confusion. In the last decade, the role of the client in addressing the creative process has been lacking in both sectors; figures such as the curator and the entrepreneur who were in charge of valorizing the productive results, have disappeared; in the absence of any clear directive, the planning activity began to spread out over new horizons by seeking inspiration from and being influenced by other disciplines and knowledge. In this light, design has become more expressive, controversial, critical, and focused on addressing complex social, political and ecological issues. Artists, on the other hand, are increasingly interested in investigating design cultures and their impact on society, by focusing in particular on the new technologies (Rawsthorn, 2018). But, above all, art and design are converging in their efforts to understand and border the complexity of the present, through the synthesis, the representation, and the sharing of narratives projected towards possible futures. Starting from a reflection on the impact that the ongoing digital revolution is having on productive sectors, this article investigates the cross-fertilization between art and design through a shared aesthetic perspective, in terms of perception, experience and knowledge acquired through the mediation of the senses. Thanks to a phenomenological analysis based on the contemporary art and design scene, three possible approaches have been identified (integrated, relational and open) that denote the emergence of a common sensitivity linked to the aesthetics of possible futures.

Con la crisi della globalizzazione non ha più senso porre su un piano oppositivo arte e design. L’incertezza sul futuro e la simultaneità delle scelte che siamo chiamati a prendere, sono alcuni dei fattori comuni che legano le culture artistiche e di progetto, paradossalmente chiamate in causa per lenire una condizione di spaesamento e confusione. Nell’ultimo decennio, in entrambi i settori è venuto a mancare il ruolo del committente nell’indirizzare il processo creativo; le figure del curatore e dell’imprenditore che tesaurizzavano gli esiti produttivi sono scomparse; in assenza di brief, la progettualità ha potuto spaziare su piani aperti per andare a cercare ispirazione e farsi contaminare attingendo da altre discipline e saperi. Alla luce di questo presente, il design è diventato più espressivo, polemico, critico, attento a definire problemi complessi nel campo sociale, politico, ecologico. Gli artisti, d’altra parte, sono sempre più interessati a indagare le culture del design e il loro impatto sulla società, rivolgendosi in particolare alle nuove tecnologie (Rawsthorn, 2018). Ma soprattutto arte e design convergono nel voler comprendere e confinare la complessità del presente, attraverso la sintesi, la rappresentazione, la condivisione di narrazioni proiettate verso futuri possibili. A partire da una riflessione sull’impatto della rivoluzione digitale in corso nel campo degli statuti produttivi, il testo indaga le contaminazioni tra arte e design attraverso una condivisa prospettiva estetica intesa come percezione, esperienza e conoscenza delle cose attraverso la mediazione dei sensi. Grazie a un’analisi fenomenologica tratta dal panorama contemporaneo, vengono individuati tre possibili approcci (integrato, relazionale e open) che denotano l’emergere di una condivisa sensibilità legata alle estetiche dei futuri.

La cura del futuro

Elena Formia;Elena Vai
2019

Abstract

With the current crisis of globalization, it no longer makes sense to consider art and design as oppositional. The uncertainty about the future and the simultaneity of the choices we are called upon to take, are some of the factors that link artistic and design cultures, paradoxically called into question to alleviate a condition of disorientation and confusion. In the last decade, the role of the client in addressing the creative process has been lacking in both sectors; figures such as the curator and the entrepreneur who were in charge of valorizing the productive results, have disappeared; in the absence of any clear directive, the planning activity began to spread out over new horizons by seeking inspiration from and being influenced by other disciplines and knowledge. In this light, design has become more expressive, controversial, critical, and focused on addressing complex social, political and ecological issues. Artists, on the other hand, are increasingly interested in investigating design cultures and their impact on society, by focusing in particular on the new technologies (Rawsthorn, 2018). But, above all, art and design are converging in their efforts to understand and border the complexity of the present, through the synthesis, the representation, and the sharing of narratives projected towards possible futures. Starting from a reflection on the impact that the ongoing digital revolution is having on productive sectors, this article investigates the cross-fertilization between art and design through a shared aesthetic perspective, in terms of perception, experience and knowledge acquired through the mediation of the senses. Thanks to a phenomenological analysis based on the contemporary art and design scene, three possible approaches have been identified (integrated, relational and open) that denote the emergence of a common sensitivity linked to the aesthetics of possible futures.
2019
Elena Formia; Elena Vai
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11585/736469
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