Techno-Aesthetics and Forms of the Imagination

Abstract

The concept of “techno-aesthetics” refers to the fact that human sensitivity (aisthesis) is commonly exercised via technical extensions of the body. I interpret this phenomenon here against the backdrop of a philosophical paradigm presented by Immanuel Kant in his Critique of the Power of Judgment (1.1.). As well as an absolutely central role played by the quality and performances of sensitivity, this paradigm includes a “realistic” and embodied conception of the imagination (1.2.) and a techno-aesthetic approach to language and linguistic creativity (1.3.). In both cases, the emphasis will be placed on the convergence and differences between the Kantian approach and the phenomenological orientation linked to influential theoretical models such as Embodied Cognition and the Material Engagement Theory. The second part addresses the specific issue of art. More explicitly, I shall ask in what way art can constitute an epistemic object for a techno-aesthetic (2.1.) and whether such a theoretical classification of art does not result in the assumption of an element of historical variability (2.2.) which prompts us to supplement Kant’s formulation. Indeed, the latter could not respond satisfactorily to the, sometimes radical, cultural changes attributable to technological innovation and often highlighted by the arts. The conclusions identify three orientations of that highlighted which are “experimental”, “revelatory” and “deconstructive”.