This thesis studies the change in artistry brought about by the dynamic relationship between technology and art. Among the characteristics of <Technical Editing Art>, this study aims to establish the theory of media aesthetics in the era of technological editing, focusing on ‘transparency’, ‘trust’ and ‘remediation’ caused by the immateriality of tools and texts.
The transparency of the subject does not mean that the subject is concealed, but refers to the unity state of beings that do not feel the difference between the subject of the material space and the subject of the non-material space. Recognizing the transparency of the subject is a new perspective on the relationship between humans and tools in the post-human era. If it evolves to the stage of mutual transformation, it goes beyond simple immersion and enters the process of unity. In this process, the distinction between the subject and the tool itself becomes transparent, and the post-human era of the half-human period arrives.
The trust of the network-space is the trust in the relationship and connection between the subject-object-space. The starting point of relationships and connections begins with a transparent subject, and the method by which this subject measures the trust of content (including knowledge and information) is ‘knowledge about knowledge’, or ‘meta- knowledge’. Meta-knowledge is a virtual device that gives order (trust) to knowledge, and is learned through the sequence-persistence-frequency of connections, and includes the level of search algorithm, the arrangement and distance of the screen, and quantified interest and empathy. And it is the network-space that creates and controls this virtual device.
The remediation of the artistic conception is “to negate the existing artistic conception and form and attempt to convert the perception into a new idea.” Art that was familiar and customary is suddenly unfamiliar at some point. In the category of remediation of the idea of art, not only the concept of art but also the mechanism of creation and enjoyment is included, and now we must start preparing to meet an unfamiliar art that we have never experienced before.
If the creative editors of technical editing art find art forms corresponding to technological development and work on art creation with a consciousness corresponding to technology, a new art genre comparable to that of a 20th century film will soon emerge. <Techediting arts> will be a characteristic art trend of digital media aesthetics that directs avant-garde artistic movements and a series of flows.