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Arts & Communication Artificial intelligence and art

subtle and obvious variations, or textural noise, with the claims that history cannot exist without writing because
screen-printing technique creating these variations in “inscription” is a constant force, and deconstruction
the reproduction. In this technique, the repeating grid begins with the notion that the sign precedes the truth.
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format is not perfectly constructed, leading to variations What distinguishes these two options? Why would
such as misaligned or overlapping prints. This result in a Derrida’s writing and leaving a trace not be considered
competition between the information content of the image an original creation? Denying him this would imply that
and the esthetic problems of pattern, color, and shades. every act of leaving a trace is an original creation, which
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The viewer’s vision oscillates between content and form, indeed occurs. However, not every malfunction results in
reference and surface, unable to integrate these aspects a work of art; some malfunctions degenerate into kitsch,
into a cohesive whole. This oscillation fascinates because and this difference is recognizable. This is a disagreement
it draws attention through erroneous repetitions, which with Derrida, highlighting that truth exists in art. If every
Dixon interprets as an auratic flicker or a murmur of writing and every trace were an original creation, it would
consciousness, even thematically a murmur of conscience. mean that there is no difference between artistic and non-
Aura, therefore comes from a disconnection between artistic works. As stated previously, co-creation is central
expectation and reality, or a form of failure. Unlike “ideal to creativity. This thesis is based on the difference between
objects,” this type of “defect” and coincidence relates to the artistic and non-artistic works, implying a criterion
relationship between presence and otherness. Specifically, of truthfulness and an absolute criterion. An absolute
a technical malfunction in Warhol’s piece results in an criterion is only possible if there is an absolute. If truth
“excess” piece that extends beyond the display itself. Dixon exists in a work of art, it is possible only to the absolute.
notes this as an oscillation between content and form that It appears that we are compelled to associate artwork
cannot be synthesized into wholeness; it cannot be self- with a pre-existing essence, which artwork persistently
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identified. This is an event of infinite flickering, which is and apophatically avoids. Trapped between essence on
the aura. one hand and the freedom and openness of inscription
Referring to Derrida, it becomes clear that the relation on the other, the only resolution is that original creativity
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to non-presence is not obscured by the existence of the is co-creation. Art is creative, i.e., co-creative because it
original impression; rather, non-presence enables the collaborates with the absolute to arrive at a truth that did
emergence and ever-renewing intactness of the original not exist before the artwork was created. The horizon-
impression. This relationship also eliminates the possibility opening and “excess”-creating qualities of the artwork,
of self-identity per se. In Warhol’s example, self-identity is composed of an infinite variety of “faces” of otherness, give
subverted through technical malfunctions, suggesting a it an aura that is ever new.
kind of “excess.” Non-presence allows for the appearance This text commences with a reference to a passage
of this “excess,” which lacks a “counterpart” in the pre- in the Gospel that describes a particular type of aura or
existing essence. Instead, it arises from malfunctions and halo. When discussing an aura, or halo, it is the radiance
coincidences that contribute to the authenticity of the and atmosphere surrounding a person or phenomenon.
artwork. The metaphysics of presence fails to account for The “excess” in the artwork appears manifest uniquely,
the potential of coincidence and “excess,” which are crucial indicating an interaction between form and content that
to the artwork’s authenticity. This metaphysics seeks for flickers between the corporality of the artwork and its
the artwork to fully express an idea, self-identify, and references. This dynamic makes the artwork inherently
be recognized in line with ontologically, teleologically, transgressive and impossible to replicate.
or epistemologically truths. In addition, it aims for the
artwork to be a tautology that expresses the essence or 4. AI and the “new” work of art
reveals the truth as the occurrence of being. However, such The concept of aura remained relevant in art theory until
subjugation of the artwork is not possible. As it resists self- the emergence of conceptualism, which shifted focus from
identification, the artwork conveys otherness – which is aura to ideas and project propositions. Conceptualism in
elusive, unconquerable, and defies conceptual explanation, art tends to trivialize or deny the auratic characteristics
granting access to infinity. of the artwork, criticizing the modernist stance from
If a work of art is not preceded by a given essence, what Benjamin to Adorno that an artwork’s value lies in its
is it about? There are two possible explanations: either it authenticity through human creation. Instead, conceptual
has to do with original and authentic creativity, or it relates art emphasizes production over the artwork itself.
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to what Derrida terms as inscription and rewriting, leaving Miško Šuvaković points out that the rise of conceptual
a trace. The idea that there is no foundational essence art was followed by post-conceptual productions, which
lies at the heart of Derrida’s deconstruction. Derrida transitioned from the literal to the fictional and from the
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Volume 3 Issue 2 (2025) 5 doi: 10.36922/ac.3311