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A Study on the Causality of Aesthetic Experience and Human-Machine Interaction
The Journal of Aesthetics and Science of Art
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Human-Machine Interaction(HMI) is an interdisciplinary research domain that includes techo-cultural topics from interactive art to robotics. Man's/machine's actions in HMI are defined as movements with circular causality like actions of organism. For human, different actions are ecological behaviors in oder to adapt to his/her Umwelt, and continuous accumulation of his/her actions can be called meaningful experience. These conditions of human actions is also pertinent to his/her interactions with machine. In the context contemporary empiricists insist that humans have life-enhanced emotions and an aesthetic experience in those interactive situations. But their arguments for technology without concrete evidences of mechanism are relatively ambiguous and complex for HMI experiments. Thus the research explains the circular causality of aesthetic experience corresponded to interactivity of HMI and presents simplified systematic schema of that experience. The machinism based on F. Guattari's theory of Chaosmosis, cybernetics, and F. Varela's theory of Autopoiesis supports circular causal properties of mechanical movements and criticizes the modern theory of linear causal mechanism. The theoretical backgrounds hereby are prepared to apply the circular causality into aesthetic experience of the interactive relationship between human and machine. On the other hand circular causal properties in constructive processes of aesthetic experience are found on Humean theory of taste with the birth of modern aesthetics. For Hume a symbol of fine taste, ‘a true critic’ is a man who is trained constructive elements of aesthetic experience repeatedly and passes ‘the test of time’. And arguments of comtemporary aesthetic theories criticize the concept of aesthetic experience with denying aesthetic emotion and values as the last vestiges of the modern. But the definition of aesthetic experience as epistemic construction by temporal movements undermines their criticisms. Thus aesthetic experience are defined as the meaningful constructions of repetitive temporal movements between cognitive-emotional elements. Furthermore the research explains more clearly the constructive schema of aesthetic experience with the cognition-emotion-adaptation system of cognitive science and recent robotic systems. The explain meets the requirements for application of aesthetic experience to HMI, and finally the relatively simplified systematic schema of the experience for HMI experiments be presented. These theoretical topics for experimental issues may be unfamiliar to aesthetics but can contribute to its scientific diversity from a different angle. Of course it is needed to deepen the studies. Particularly the research can be complemented by defining ‘aesthetic properties of object’ in elements of the schematization in detail.
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