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Arts & Communication Artificial intelligence and art

irreducible aspects of experience, namely, the passage and aura based on the reproduction of an infinitely multiplying
exit to the Other. Art, in a fundamental sense, engages binary code. To understand what the aura of information
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with otherness because it co-creates something that did not is, we must first grasp the general concept of aura. Aura
exist before. It becomes part of the metaphysical desire for manifests at the irreducibility of the Other, serving as
the Other, serving as a co-interlocutor with the absolute. an indicator of a phenomenon where the relationship
The Other’s irreducibility produces the aura of the artwork. between presence and otherness, contingency and
This aura, as a fragile phenomenon in a dynamic dialog absolute, flickers. From Rodríguez-Ferrándiz’s perspective,
between presence and otherness, serves as an indicator of cultural objects are not merely objects of thought but also
the relationship between the artwork and the Other. The actions and experiments open to further manipulation and
subsequent sections will explore how art is a contingent co-production. This perspective highlights how cultural
interlocutor with the absolute in the co-creation process, experience is no longer restricted to the contemplation of
leading to the emergence of the artwork’s aura. an object; instead, it involves navigating between different
points rather than delving deeply into one aspect. This
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3. The aura of the artwork as an indicator of dynamic is exemplified by the Internet, where links
the relationship between contingency and lead to other texts, and enjoyment is derived not from
absolute contemplation but from creating the product, even if it is
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Merriam-Webster’s dictionary defines “aura” as a special temporary. In the context of post-production, Rodríguez-
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quality or feeling that seems to come from a person, place, Ferrándiz refers to Nicolas Bourriaud, who believes
or thing. To contextualize this concept within the realm that the traditional distinctions between production and
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of AI-generated art, we will first need to explore aspects of consumption, creation and copying, have been erased,
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an artwork’s aura to gain a more thorough comprehension. making concepts such as originality and creations obsolete.
These aspects are related to Walter Benjamin’s interpretation Artists take information and cultural codes from heritage
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of originality and reproduction, in which he argues that or everyday life, not creating but programming forms.
the aura is lost in reproduction. According to Magdalena The artistic strategy of post-production involves mixing
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Ziębahe, the art of the past two decades has accelerated and combining, whereas hyper-production is viewed
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and intensified the depletion of the aura. Radical artistic by Bourriaud as a cultural ecosystem, where reality is
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practices have contributed to the erosion of traditional replaced by montage. In line with Bourriaud’s views,
cultural values, as described by Benjamin. This can be seen Rodríguez-Ferrándiz believes that the target recipient is
in the proliferation of silkscreened photographic images no longer merely contemplative but also participatory;
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in the works of Warhol and Rauschenberg, as well as the the consumer is also a post-producer. Regarding these
industrially manufactured, repetitively structured works of interpretations of aura, a certain rationalization of artistic
the minimal sculptors. Art appropriation aims to recycle expression is discussed, where the “auratic” activity of
the authenticity of the original while generating new the artwork is based on information as a “means” of
interpretations. 14 interchange, compilation, assembly, and co-production.
However, in creative discourse, the exact opposite is
Raúl Rodríguez-Ferrándiz notes that, according accurate: as Dixon’s example of Warhol’s artwork will
to Benjamin’s interpretation, an aura is an authentic demonstrate, “information” comes from the aura, with the
appearance of a work of art that manifests in a material artwork’s form and content operating simultaneously and
capacity within the tradition in which it was created. the “reference” oscillating with the artwork’s physicality.
In reproduction, the properties of the original work are Techniques involving the exchange of information, or
omitted, causing its aura to disappear (aura, according to information itself, are not the source of aura.
Benjamin, cannot be reproduced). Rodríguez-Ferrándiz
examines the implications in new media and contemporary Before Dixon’s claim, the perspectives of Reece Gielen,
cultural production, where reproducibility is not degrading A.I. Badry, and A.Y. Lubis regarding the relationship
but rather a principle of production itself. Consequently, between aura and information or artworks without
the concept of “original” is lost, as reproduction becomes physicality are noteworthy. Gielen examines the branding
integral to the art form. He suggests that it is the process in marketing, arguing that this process is how
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aura of information that allows digitality to transcend information “gets” an aura. He relates this procedure to
physical form in contemporary artworks, rendering them an artwork’s aura, suggesting that marketing activities can
“immortal.” This “immortality” is no longer related to the transform a product (brand) into a kind of idol. Similar
uniqueness of the original, which traditionally guarantees to Rodríguez-Ferrándiz, Gielen distinguishes aura from
the authenticity of its copies. Instead, it arises from the physical attributes by viewing it as a quality of information
multiplication of identical instances, creating a paradoxical and the identity associated with the brand. In branding,
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Volume 3 Issue 2 (2025) 3 doi: 10.36922/ac.3311