ScholarWorks@숙명여자대학교

초록

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.

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