It is an open theoretical fact today that aesthetics are not limited to discussions on artistic creations and their appreciation. The question of who realizes the aesthetic as the ‘ which’ has become a challenge of aesthetics. It is also a part of this theoretical trend to consider the aesthetics of robots as non-humans.
With the concept of ‘sharing of the sensible’, J. Rancière thought about the ‘becoming-politicalsubjects’ of those who have no ability to rule and those who have no share, those who are denigrated as non-humans. B. Latour’s ANT, extended to ‘the politics of things’, tolerates the fluidity of the truth of knowledge and affirms the symmetrical power of non-human beings in the networks of actors including humans and non-humans.
Looking back at the historical era of robotics, the genesis of the robot in the 1920s was related both to aesthetic situations and the production of techno-scientific knowledge (robotics). The illusion of the robot as a slave labor and the materiality of the robot as a machine are articulated in non-human characteristics. Its materiality, such as metallicity, automatism, and repeatability, defines the robot as a soulless, heteronomous, vulgar, threatening, and demonic being, and the non-human characteristics re-assemble the ontological minorities into disgusting beings.