The presence of digital art: towards the oblivion of aesthetics sense and beyond


  • Karna Mustaqim Universitas Esa Unggul Jakarta
  • Iwan Zahar Universitas Esa Unggul Jakarta



Digital art, Aesthetic, Computer, Oblivion, Remediation


In this article, we discuss the impact of accelerating the distribution of digital art which in the future can lead to the disappearance of appreciation for people's daily aesthetic sensations. Our life is in constant changing by the forces that are beyond the complete control of human beings as such as current corona’s endemic and disruptive spot force by it. However, digital art has never been praised before in such current situation. Two decades ago, the theoretical, aesthetic and philosophical dimensions of the digital art medium were still underrated area of investigation. Nevertheless, although digital art is too popular and being used practically by everyone on the globe, yet, it doesn’t mean that everybody just can create the work of art out of it. In this preliminary study, our research based on re-reading thoroughly library research looks for some historical moment from the past situation that happened to digital art and compares its changing appreciation in the current situation. Library or so-called literature research is research that is carried out using literature, both in the form of books, notes, and reports on the results of previous studies or any available information. With the enormous coming of the uses artificial intelligence and machine learning become more and more subtle and immerse in our daily devices, like it or not, the art also has to be re-questioned in relation to the human senses, the aesthetic. The artistic part of humanity probably can contribute as sparring partner to sciences which is not just a matter of mimicry of an aesthetic feeling, but the truthfulness of being a living human


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How to Cite

Karna Mustaqim, and Iwan Zahar. 2022. “The Presence of Digital Art: Towards the Oblivion of Aesthetics Sense and Beyond”. IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 4 (1):106-14.