The Artificial, the Accidental, the Aesthetic…
AbstractHow do we define, discuss or assess aesthetics within a contemporary philosophical framework? The indefiniteness that accompanies attempts to formalize a definition of the aesthetic is a primary focus of this paper. This lack of a definition has occupied philosophers for hundreds of years in attempts to delineate the boundaries of an elusively formless concept. This formlessness speaks to the incredibly evasive character of such a pervasive feature recognized in both natural and artificial systems, agents and artefacts. With the rapid growth of artificially intelligent systems and an astounding diversity in computational creativity, in what ways may we approach aesthetics? How is the aesthetic recognized, determined and produced? This paper seeks to critically engage issues of non-human agency, inter-object relations, and aesthetic theory in relation to computational entities and autonomous systems. The ability of these systems to operate outside of human cognitive limitations including thought patterns and constructions which may preclude alternative aesthetic outcomes, afford them in some ways limitless potential in relation to aesthetics. The designation of the accidental or provisional is utilized as an alternative approach to the production and assessment of aesthetic occurrences of the non-human.
Bogost, I. (2012). Alien phenomenology, or, What it's like to be a thing. Minneapolis, MN: University of Minnesota Press. http://dx.doi.org/10.5749/minnesota/9780816678976.001.0001
Garcia, T. (2014) Form and Object: A Treatise on Things (Cogburn, J. and Ohm, M. A., Trans.). Edinburgh: Edinburgh University Press.
Hegel, G.W.H. (1979) Hegel's Introduction to Aesthetics: Being the Introduction to the Berlin Aesthetics Lectures of the 1820s (T. M. Knox, Trans.) Oxford: Clarendon Press.
Hofstadter, D. (1979). Gödel, Escher, Bach: An Eternal Golden Braid (pg. 863). New York, NY: Basic Books.
Mordvintsev, A., Olah, C., & Tyka, M. (2015, June 17). Inceptionism: Going Deeper into Neural Networks. Google Research Blog. Retrieved from http://googleresearch.blogspot.com/2015/06/inceptionism-going-deeper-into-neural.html.
Morton, T. (2013). Realist Magic: Objects, Ontology, Causality (pp. 65, 71). Ann Arbor, Mich.: Open Humanities Press.
Rothenberg, D. (2011). Survival of the Beautiful: Art, Science, and Evolution. New York, NY: Bloomsbury Press.
Shaviro, S. (2009). Without Criteria Kant, Whitehead, Deleuze, and Aesthetics (p.1). Cambridge, MA: MIT Press.
Sparrow, T. (2014). The End of Phenomenology: Metaphysics and the New Realism (pg. 8). Edinburgh: Edinburgh University Press.
Authors who publish in the CITAR Journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (see The Effect of Open Access).
Copyrights to illustrations published in the journal remain with their current copyright holders.
It is the author's responsibility to obtain permission to quote from copyright sources.
Any fees required to obtain illustrations or to secure copyright permissions are the responsibility of authors.