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Reconsidering the Ontology of Artworks and Objects in AI-Based Arts
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Maryam Birang *   , Hasan Bolkhari Ghahi , Bahman Namvar Motlagh , Majid Parvanehpour |
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Abstract: (22 Views) |
This article addresses the conceptual challenges posed by artificial intelligence (AI) in the field of digital art. With the increasing presence of algorithmically generated artworks, fundamental questions arise regarding the nature of the art object, authorship, and aesthetic judgment. The central problem explored here is whether artworks created without human intentionality and outside of traditional material frameworks can still be subject to valid aesthetic evaluation and considered genuine art objects. The aim of the study is to offer a new theoretical model—referred to as the Fourth Table—that redefines the digital art object beyond classical binaries such as subject/object, creator/viewer, and art/tool. This model is based on the integration of three conceptual levels: aesthetic experience, ontological autonomy, and computational structure. The research follows a theoretical and interpretive methodology, using conceptual synthesis to bridge philosophical traditions in aesthetics and media theory. It analyzes the aesthetic implications of AI-generated art, explores the independent existence of digital objects, and examines their algorithmic foundations in terms of process, variability, and data-driven configuration.
The key finding is that digital artworks created through generative AI technologies can no longer be understood solely in terms of human-centered creativity or material presence. Rather, they should be conceptualized as multi-layered, semi-autonomous entities that simultaneously evoke subjective aesthetic responses, operate within algorithmic architectures, and possess ontological dimensions independent of perception. As a result, the Fourth Table offers a comprehensive model that enables critical engagement with AI-based artworks while preserving the relevance of aesthetic theory. It opens new pathways for research in digital aesthetics, supports more inclusive frameworks for evaluating contemporary art, and contributes to the development of a philosophical paradigm suited to the post-digital era. |
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| Keywords: Digital art object, AI art, Kantian subjective aesthetics, Harman’s object-oriented ontology, Manovich |
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Full-Text [PDF 420 kb]
(18 Downloads)
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Type of Study: Research |
Subject:
Special
Received: 2025/08/4 | Accepted: 2025/12/23
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