Written by Jiatong Li
The relationship between advanced technology and art has been a subject of increasing concern. Whether a computer-generated product can be considered art has ignited intense debate. However, this discussion is familiar and has been ongoing for quite some time, especially as new media technologies have become integrated into art, including tools such as video cameras, photographs, and various digital mediums.
Some argue that while these technologies may enhance the quality of artistic outcomes, they neither contribute to nor detract from creativity; they are merely tools. Others, however, see great potential in digital technologies for the world of art. This dichotomy between those who resist the intrusion of technology and those who recognize its aesthetic and conceptual possibilities continues to persist.
Museum institutions play a pivotal role in shaping this debate. Some advocate for a classical, modernist perspective, while others seek to deconstruct such an ideology and offer a more specific and open stance towards artistic work—one that is less absolute and more democratic. This, in turn, has led to a resurgence of the baroque style in various contemporary artistic and cultural expressions.
Simultaneously, the notion of the “real” is supplanted by the world of media production, where there is nothing left to uncover. This gives rise to what Roland Barthes called the “empire of signs” and what Jean Baudrillard termed “hyperrealism,” where the subject is engulfed by technological excess.
The proliferation of hypertext and the integration of individuals into its discursive structure, combined with the open and interactive nature of these narratives, have transformed network society into a dominant form. When examining new media art productions, more than traditional aesthetics and historical criteria is required for judgment. These works are not just visual forms but also incorporate sound and tactile sensations in their text, making them perpetually open to interpretation and multi-sensory experiences.
In this context, digital media has necessitated the development of new analytical perspectives that align with the ever-evolving visual and interactive landscape shaped by technological advancements. Aesthetics extend beyond the artwork, encompassing audiovisual productions that incorporate new media and offer novel aesthetic experiences.
These aesthetic productions are seamlessly integrated into daily life, contributing to an aestheticization of society, a phenomenon described by some theorists like Baudrillard, who posited, “Art today has fully penetrated reality, and the aestheticization of the world is complete.” The Internet hosts a broad spectrum of experiences, which grow increasingly complex when intertwined with the network connections of cultural and entertainment industries, advertising, television, radio, film, music, and various other facets of contemporary life.