The Beginnings of the Transformation of the Aesthetic Experience of Art at the Turn of the 20th and 21st Centuries
DOI:
https://doi.org/10.18778/0208-6107.2024.09Keywords:
aesthetic experience, robotic art, biorobotic art, ARTEXAbstract
What is the experience of the digital revolution? We experience being in an expanded space of contact, AR and VR. The development of genetics, the possibility of interfering with the DNA of the organism has influenced works in the field of bio art. Man has excluded technological creations from the scope of nature, distinguishing part of his specificity as so different that he needs acceptance of his own activity. The experience of art is a certain shared manifestation of being, intersubjective, specific to man. Part of this experience is related to the specific time of creation and reception of a given creation. An attempt to capture the current change in experience, a certain atmosphere shared by the latest changes in art, using pioneering tools of science, is not only a possibility to answer the question about the current identity of the contemporary recipient, participant of the network. It is a search for a common direction of future works of art, technological inventions, imagining and building an environment that responds to the current need of art, to what kind of being we want to design for ourselves.
References
Ascott, R. (1983). La Plissure du Texte. Available at: http://www.medienkunstnetz.de/works/la-plissure-du-texte/ [Accessed: 10.05.2025].
Ascott, R. (2001). Moistmedia art, czyli sztuka “wilgotnych mediów”: “Kiedy jaguar zamieszka z barankiem”. Kwartalnik Filmowy, 3–4, pp. 102–107. DOI: https://doi.org/10.36744/kf.4121
Bakke M. (2015). Bio-transfiguracje. Sztuka i estetyka posthumanizmu. Poznań: Uniwersytet Adama Mickiewicza.
Biliński, G. (ed.) (2017). Obraz. Obraz przestrzeni. Przestrzeń. Kraków: Akademia Sztuk Pięknych im. Jana Matejki.
Bostrom, N. (2011). A History of Transhumanist Thought. In M. Rectenwald and L. Carl (eds.), Academic Writing Across the Disciplines New York: Pearson Longman, pp. 1–28. Available at: https://nickbostrom.com/papers/a-history-of-transhumanist-thought/. [Accessed: 10.05.2025].
Good, I. J. (1965), Speculations Concerning the First Ultraintelligent Machine. Advances in Computers, 6: pp. 31–88. Available at: https://blog.biocomm.ai/wp-content/uploads/2023/06/Good-I.-J.-1966.-Speculations-Concerning-the-First-Ultraintelligent-Machine.pdf [Accessed: 10.05.2025]. DOI: https://doi.org/10.1016/S0065-2458(08)60418-0
Hirsch, A. (2019). Creating the Future. A Brief History of Ars Electronica 1979–2019. Berlin: Hatje Cantz.
Kluszczyński, R.W. (ed.) (2015). Guy Ben-Ary “Nervoplastica”: bio-robotic art and its cultural contexts. Gdańsk: Centrum Sztuki Współczesnej Łaźnia.
Kluszczyński, R.W. (ed.) (2016). Human Traits. Patrick Tresset and the Art of Creative Machines. Gdańsk: Centrum Sztuki Współczesnej Łaźnia.
Kluszczyński, R.W. (2001). Społeczeństwo informacyjne. Cyberkultura, sztuka multimediów. Kraków: Rabid.
Kluszczyński, R.W. (2014). Sztuka tworząca sztukę. Z rozważań nad estetyką posthumanistyczną. In J. Tymieniecka-Suchanek (ed.), Człowiek w relacji do zwierząt, roślin i maszyn w kulturze. Volume 1: Aspekt posthumanistyczny i transhumanistyczny. Katowice: Wydawnictwo Uniwersytetu Śląskiego, pp. 349–361.
Manovich, L. (2001), Post-media Aesthetic. Available at: http://manovich.net/index.php/projects/post-media-aesthetics, [Accessed: 10.05.2025].
Manovich, L. (2006). Język nowych mediów. Warszawa Wydawnictwa Artystyczne i Pedagogiczne.
McLuhan, M. (2004). Zrozumieć media. Przedłużenia człowieka. Wydawnictwa Naukowo-Techniczne, Warszawa.
Ostrowicki, M. (ed.) (2004). Estetyka wirtualności. Kraków: Universitas.
Reinhardt, J. (2011). In Anticipation of the Sixties. In R. Kluszczyński (ed.), Towards the Third Culture. The Co-Existence of Art, Science and Technology. Gdańsk: Centrum Sztuki Współczesnej Łaźnia.
Zawojski, P. (2000). Destrukcja versus wspomaganie ciała w cyberprzestrzeni. Przypadek Stelarca Kultura Współczesna, 1–2, pp. 166–172.
Zawojski, P. (ed.) (2015). Klasyczne dzieła sztuki nowych mediów. Katowice: Instytucja Kultury Katowice – Miasto Ogrodów.
alien.mur.at, La Plissure du Texte [Website of the association mur.art] Available at: http://alien.mur.at/rax/ARTEX/PLISSURE/plissure.html [Accessed: 10.05.2025].
Ben-Ary, G. (2009), Silent Barrage [Film] Available at: https://www.youtube.com/watch?v=aaIJoXlXHZM [Accessed: 10.05.2025].
Ben-Ary, G. (2013), cellF – Video Documentation. Available at: https://www.youtube.com/watch?v=1G-vk5QWRsg [Accessed: 10.05.2025].
Ben-Ary, G. (2013), In potential [Film] Available at: https://www.youtube.com/watch?v=99S6TEDT0w8 [Accessed: 10.05.2025].
Ben-Ary, G. (2014), The Living Screen [Artist’s website]. Available at: https://guybenary.com/work/bio-kino/#Elements_of_Bio-Kino[Accessed: 10.05.2025].
Ben-Ary, G. (2015), MEART – the Semi Living Artist [Film]. Available at: https://www.youtube.com/watch?v=PM5Ui5KwmXQ [Accessed: 10.05.2025].
billvorn.concordia.ca, Stéla 01[Artost’s website] Available at: https://billvorn.concordia.ca/robography/Stele.html [Accessed: 10.05.2025].
lpdt2.blogspot.com, La Plissure du Texte 2/3 [Blog] Available at: https://lpdt2.blogspot.com/ [Accessed: 10.05.2025].
Vorn, B. (2009), La Cour des Miracles Robotic Art Project [Film] Available at: https://www.youtube.com/watch?v=14Y-OP4v3EY, [Accessed: 10.05.2025].
Vorn, B. (2018), DSM-VI [Film] Available at: https://vimeo.com/280836170 [Accessed: 10.05.2025].
Downloads
Published
Issue
Section
License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.



