Il processo inverso
Conoscenza incarnata, estetica algoritmica e formazione critica nel design dell'era dell'IA
DOI:
https://doi.org/10.82068/pgjournal.2026.23.43.12Parole chiave:
Algorithmic Aesthetics, Inverse Design process, Situated Knowledge, Embodied Cognition, Design EducationAbstract
Il contributo analizza la trasformazione epistemologica del processo creativo e progettuale nel passaggio dall'analogico al digitale fino all'intelligenza artificiale generativa, con particolare attenzione al rapporto tra materialità della conoscenza e immaterialità dei processi algoritmici. Se la pratica tradizionale fondava la produzione di senso su una sequenza progressiva di azioni — un legame diretto e incorporato tra gesto, tecnica e supporto (Sennett, 2008; Adamson, 2007) — l'IA introduce una logica strutturalmente differente, che la ricerca definisce processo inverso: il designer non costruisce la forma a partire dall'intenzione, ma riceve un output già formato e deve risalirne a ritroso la coerenza logica, estetica ed etica. Questa inversione trasforma la natura stessa della competenza progettuale, da costruttiva a curatoriale. Sul piano estetico, i modelli generativi tendono a produrre un pastiche algoritmico — una ricombinazione di elementi preesistenti strutturalmente analoga al pastiche postmoderno teorizzato da Jameson (1991), ma determinata statisticamente dalla massa dei dati di training anziché da una scelta autoriale consapevole (Manovich, 2019; Somaini, 2023). Ne derivano estetiche uniformate e preconfigurate che la ricerca interroga criticamente: rispondono a un desiderio autentico del progettista o sono una condizione accettata perché favorita dagli strumenti algoritmici? A fronte di questa doppia trasformazione — del processo e dell'estetica — il contributo propone un modello di formazione critica fondato su tre componenti: i Limited Knowledge Models (LKM), modelli addestrati su saperi situati e contestuali (Haraway, 1988) capaci di preservare know-how locali in alternativa ai grandi modelli universali; la pedagogia dei vincoli, intesa come recupero del limite materiale quale dispositivo cognitivo che riattiva la dimensione incarnata del fare; e la figura del designer-curatore, profilo che privilegia l'ars interrogandi sulla delega algoritmica, mantenendo la responsabilità etica sul processo. Attraverso una revisione della letteratura e la mappatura di casi studio, la ricerca documenta come queste componenti possano integrarsi in un modello pedagogico ibrido capace di formare designer consapevoli delle logiche algoritmiche senza rinunciare alla profondità critica che la cultura del progetto ha storicamente prodotto.
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