It shows computational aesthetic objects may be better described as simulations: as dynamic, persistent, technically mediated renderings of a source system at different levels of abstraction (granularities). This dissertation shows computers are the ultimate modelling machines tools that allow us design, represent, interact with, and objectify entities and experiences that need not exist in concrete (Modern or “Newtonian”) reality, but merely as. These styles of analysis give access to a broader understanding of information and communication technologies (and computational technology in particular) that mitigates some of the epistemic shortcomings of media studies and critical theory. The analysis here presented is based on insights provided by contemporary philosophy of technology and philosophy of information. To address them, this dissertation proposes a scientifically-informed conceptual inquiry and historical account of the relation between computational technology and art. How should they be understood, described and categorised in relation to non-computational artworks, and how current technological developments are affecting aesthetic practices and our understanding of art in the Information Age are two of the most pressing questions in this field. Computer-generated aesthetic artefacts and the technology employed to create them have brought serious challenges for art scholarship.
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