Abstract

It is clear that the visual representations of the so-called digital aesthetics are linked to social processes and institutional functions intrinsically, and they bring with them the following paradox antagonistically but not contradictorily. On the one hand, they oppose the coercion of the historical-social-cultural system, because they try to deal with the transformation of the reality in a critical way. On the other hand, they meet the growing of the world net of computers, which are becoming more and more invisible and captivating and are diluting the bond between culture and communication and the technological dimension in a subliminal way a lot of times. The aim of this article is to examine historically and culturally the emergence of so-called digital aesthetics. The article will also identify which mutations are related to this kind of aesthetics. It will not only examine the representation models that sustain the modern and the high-tech aesthetics but also the relations of power and knowledge that operate directly over the receiver in these two moments.