Abstract
This article studies the differences and interconnections between human and machine perception based on the theory of Phenomenology. It aims to explore the different approaches through which humans and machines engage with the world and manifest in the realm of art. Particularly, the human perception as interpreted by Maurice Merleau-Ponty through the study of Cézanne’s paintings, and the machine perception that is incorporated in Refik Anadol’s AI artworks, which are further elaborated through Postphenomenology such as Don Ihde’s philosophy of science and technology, and the theory of human-technology relations.
The Phenomenology of Perception framework is employed as the fundamental approach to investigate the notion of the two distinct perceptions. The dynamic observation and embodied process coined by Merleau-Ponty to examine Cézanne’s paintings illustrates how humans perceive and form experiences and perception in shaping visual art. Refik Anadol’s AI artwork presents the ability of machines and algorithms to create dynamic imagery art through data integration and synthesis, highlighting the different approaches of AI technology in perceiving and forming perception, which can also make sense to humans from the perspective of artistic and visual experience.
By comparing and analysing the artworks, the article seeks to explore a deeper understanding of the differences and connections between human and machine perception through theoretical approaches. The transformation from physical and embodiment experiences to data-driven and machine-generated interpretations signifies the potential of perception visualization, as well as the evolving landscape of artistic creation in the age of machine intelligence. The developments encourage us to broaden our perspective on technology, and perception of the world, as well as the new epistemology to understand the dynamic interconnection of humans, machines and aesthetic experiences.
The Phenomenology of Perception framework is employed as the fundamental approach to investigate the notion of the two distinct perceptions. The dynamic observation and embodied process coined by Merleau-Ponty to examine Cézanne’s paintings illustrates how humans perceive and form experiences and perception in shaping visual art. Refik Anadol’s AI artwork presents the ability of machines and algorithms to create dynamic imagery art through data integration and synthesis, highlighting the different approaches of AI technology in perceiving and forming perception, which can also make sense to humans from the perspective of artistic and visual experience.
By comparing and analysing the artworks, the article seeks to explore a deeper understanding of the differences and connections between human and machine perception through theoretical approaches. The transformation from physical and embodiment experiences to data-driven and machine-generated interpretations signifies the potential of perception visualization, as well as the evolving landscape of artistic creation in the age of machine intelligence. The developments encourage us to broaden our perspective on technology, and perception of the world, as well as the new epistemology to understand the dynamic interconnection of humans, machines and aesthetic experiences.
Original language | English |
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Journal | Journal of Interactive Media |
Publication status | Published - Jun 2024 |
Keywords
- Human
- Machine
- Perception
- Phenomenology
- Maurice Merleau-Ponty
- Paul Cézanne
- Refik Anadol
- Artificial intelligence
- Don Ihde