INTERNATIONAL SCIENTIFIC RESEARCH AND INNOVATION CONGRESS -II
THE ONTOLOGY OF ART IN RELATION TO DIGITAL TECHNOLOGIES
This study evaluates the ontology of digital and post-digital art, focusing on the artist, art projects, and the experience of art in relation to digital technologies. With the development and integration of new media technologies into art, novel forms of artistic expression have emerged, where digital visuals/holograms have transformed into layers of being, virtual platforms are utilized, and entities devoid of consciousness contribute to production. Interactive projects shaped by the audience, alternative realities through post-production, and hybrid approaches based on human-machine collaboration have opened new avenues in the existence of art. Transformations in the artist's production style and the content of art necessitate new ontological evaluations. The purpose of this research is to examine the role of artificial intelligence technologies in contemporary art production, the nature of digital art projects, and changes in audience experiences. The scope of the study is structured around the evaluation of contemporary issues from different perspectives of the artist-art-audience triad, focusing on the ontology of art altered by technological opportunities. Within the scope of the study, questions such as “Can artificial intelligence be considered an artist?”, “How do originality and reality manifest in digital works?”, and “How do digital platforms shape the interpretation of art and audience interaction?” are explored. Addressing these questions contributes to understanding the philosophical, aesthetic, and formal impacts of digital technologies on art. In this context, under the title “The Ontology of Digital Art from the Artist's Perspective,” the impact of artificial intelligence on the perception of artists and the ontic evaluation of productions devoid of human agency are discussed. The objectification (objectivation) in collaborative works is explained, and examples of holograms and mechatronic structures being described as performance artists are interpreted. In the section titled “The Ontology of Digital Art from the Perspective of Art Projects,” the changes in concepts of originality, reality, and being in digital art projects, as well as the ontological status of digital works, are questioned. Under the title “Perception and Interpretation of Digital Art in the Context of Art Experience,” the dimensions of audience interaction with digital art, the interpretation of art in digital environments, and the effects on the audience are examined. The section “Conclusion and Discussion” evaluates findings and presents conclusions.
