The Aesthetics of The Artificial–Critical Design’s Lost Dominion

Abstract

In its broadest sense, Digital Art spans everything from high-end machine learning applications through to the use of interactive elements, within traditional media. This paper surveys the domain’s full range, with indicative examples, described from the early days of the domain up to today. The examples, embody archetypal commonalities that allow categorisation; Digital Production, Distribution, Engagement and Subject matter, as well as eight sub-themes within the groupings. These are detailed and comprise; automation, presentation, distribution, interaction, simulation, immersion, transformation and hybridisation. The categories and sub-themes, demonstrate the diversity of the field and its maturity, even in areas that overlap with many areas outside of artistic production including Critical Design (Dunne, 1998). In this context, the paper asks the implicit question, of whether emergent strands in contemporary design research and practice (e.g. Design Anthropology), might benefit from a deeper and nuanced exploration of the Digital Art domain.