From Classical Definitions to Artificial Intelligence: Toward a Relational Ontology of Art

Classical Philosophical Definitions of Art

Philosophical reflection on art has ancient roots. Plato (427–347 BCE), in The Republic and Ion, considered art an imitation of reality, inferior to the knowledge of ideas: as a "copy" of an already imperfect world, art could never attain true knowledge. Aristotle (384–322 BCE), in Poetics, defined art as a representation capable of eliciting catharsis (emotional purification), highlighting the liberating power of artistic experience.

Moving to modernity, Immanuel Kant (1724–1804), in Critique of Judgment, linked art to disinterested aesthetic judgment, based on pure pleasure in beauty, unbound by practical or moral concerns. Georg Wilhelm Friedrich Hegel (1770–1831), in Lectures on Aesthetics, saw art as a manifestation of the Absolute Spirit, an expression of humanity’s cultural evolution (beauty exists only in human creativity, rather than in nature).

Arthur Schopenhauer (1788–1860), in The World as Will and Representation, considered art a temporary escape from the will, the source of suffering, offering a moment of detachment from human desires. Friedrich Nietzsche (1844–1900), in The Birth of Tragedy, emphasized art’s dual nature, shaped by Apollonian (order, structure) and Dionysian (chaos, passion) impulses, revealing the complexity of existence.

Beyond Beauty: Philosophers Who Freed Art from Aesthetic Value

In the 20th century, many theorists questioned the necessity of beauty in defining art, shifting the focus to context, meaning, and social or conceptual function.

• Marcel Duchamp (1887–1968), with his ready-mades (Fountain, 1917), demonstrated that intention and context could transform ordinary objects into art.

• Martin Heidegger (1889–1976), in The Origin of the Work of Art, shifted the focus from "beauty" to art as a means of revealing deep truths.

• Walter Benjamin (1892–1940), in The Work of Art in the Age of Mechanical Reproduction, introduced the concept of aura, which he argued was undermined by mass reproduction technologies.

• Theodor W. Adorno (1903–1969), in Aesthetic Theory, saw art as a tool for social critique, capable of destabilizing dominant thought.

• Arthur C. Danto (1924–2013), in The Artworld (1964) and The Transfiguration of the Commonplace (1981), argued that art's value lies primarily in its conceptual dimension and cultural context.

• George Dickie (1926–2020), in his institutional theory (Art and the Aesthetic, 1974), emphasized the role of institutions (museums, critics, galleries) in bestowing artistic status on objects and performances.

These perspectives revolutionized the connection between art and beauty, paving the way for new expressive forms and conceptual experimentation.

Artificial Intelligence and Creativity: Philosophical Questions on a New Horizon

The rise of AI-generated art raises philosophical questions about creativity and authorship. Some argue that creativity requires consciousness and intentionality, while AI, at least for now, processes data without subjective experience.

Key questions include:

• Can an AI-generated work be considered "creative"?

• Who is the legitimate author—the programmer, the user, or the machine itself?

• Can AI-generated art evoke deep emotions if the machine lacks emotions itself?

Another critical issue is the "democratization of creativity"—advanced AI tools, accessible to many, could expand artistic participation and redefine professional roles in the creative sector.

From an aesthetic perspective, the "aura" of an artwork and the nature of artistic inspiration are also being questioned. These debates push us to rethink the very concepts of "creation" and "authorship", which will continue to evolve as AI systems become more sophisticated.

Transcending Imagination: AI as a Partner in Human Creativity

In his recent book, Transcending Imagination: Artificial Intelligence and the Future of Creativity (2024), Alexander Manu explores AI’s impact on art, design, and our understanding of creativity.

For Manu, AI does not replace human artists—rather, it expands creative possibilities, challenging our concepts of art and consciousness. His book explores:

• Generative art theory

• The role of artistic intention

• The concept of "incidental beauty"

• The transformative potential of AI in fields ranging from virtual reality to design and medicine

Manu questions the boundary between artificial and natural creativity, arguing that human-AI collaboration is a source of new artistic forms.

AI acts as a catalyst, pushing artists and designers toward new creative frontiers. By making creative tools more accessible, AI can foster greater artistic participation among people from diverse backgrounds.

Moreover, AI redefines the creative process, allowing ideas and emotions to be translated into tangible forms, often surpassing traditional manual skills. This synergy sometimes produces "incidental beauty," emerging from algorithmic complexity, challenging traditional aesthetic canons.

Integrating AI into artistic fields means embracing a collaborative process, where humans and machines work together to expand the boundaries of expression.

A Relational Ontology of Art

Considering classical philosophy, 20th-century theories, and the latest AI-related perspectives, we can propose an ontological taxonomy of art as a relational and multifaceted phenomenon.

Art cannot be defined by a single criterion—it emerges from the interplay of multiple dimensions, which can be integrated as follows:

• Art as revelation—a means of accessing a metaphysical or inner experience (Plato, Aristotle, Hegel, Schopenhauer).

• Art as social and critical function—a force of critique and transformation (Adorno, Benjamin, Danto).

• Art as intentional act within a cultural/institutional context—where recognition and shared definitions establish what qualifies as art (Duchamp, Dickie, Danto).

• Art as a co-creative process—where human and non-human interaction becomes a source of experimentation (Manu, generative AI).

Rather than being mutually exclusive, these philosophical approaches form a dynamic matrix. Art is a continuous process of discovery, critique, institutional engagement, and technological evolution.

Its relational nature becomes even clearer, as each perspective illuminates a fundamental aspect of artistic creation.

Thus, art remains a constantly evolving activity, now including collaboration with artificial intelligence. It continues to serve as a privileged means of exploring both the human condition and the new frontiers of human-machine interaction—ultimately forcing us to reconsider what it truly means to create.

Definitions Are Always Wrong

After this brief but dense journey, we can conclude that defining and containing art is nearly impossible.

However, one thing becomes clear:Art is not something in itself, but rather a relationship between selves.

Throughout this series, we have explored consciousness and AI, universal Darwinism, and post-biological consciousness. In this framework, it is not art that changes, but our concept of "self".

Art, it seems, has the capacity to survive any ontological or paradigm shift.

Bibliography

• Adorno, T. W. (1970). Aesthetic Theory. (Posthumous publication). Einaudi.

• Aristotle. (4th century BCE). Poetics.

• Benjamin, W. (1936). The Work of Art in the Age of Mechanical Reproduction. In Selected Writings.

• Danto, A. C. (1964). The Artworld. The Journal of Philosophy, 61(19), 571-584.

• Danto, A. C. (1981). The Transfiguration of the Commonplace. Laterza.

• Dickie, G. (1974). Art and the Aesthetic: An Institutional Analysis. Cornell University Press.

• Duchamp, M. (1917). Fountain (artwork/ready-made).

• Hegel, G. W. F. (1835–1838). Lectures on Aesthetics.

• Heidegger, M. (1935–1936). The Origin of the Work of Art.

• Kant, I. (1790). Critique of Judgment.

• Manu, A. (2023). Transcending Imagination: Artificial Intelligence and the Future of Creativity.

• Nietzsche, F. (1872). The Birth of Tragedy.

• Plato. (4th century BCE). The Republic; Ion.

• Salafia, D. (2023). The End of Art: From Wittgenstein to AI, via Arthur Danto. Artuu. Available at: The End of Art: From Wittgenstein to AI, via Arthur Danto.

• Schopenhauer, A. (1818/1844). The World as Will and Representation.