Modern Aesthetics: Philosophy of Art Generated by Artificial Intelligence

Art, as a central subsystem of spiritual culture, historically experiences all sociocultural transformations, changing in accordance with them. In modern Russian aesthetics, an understanding of art has developed as a system of interaction between three types of activity: artistic creativity, artistic performance and artistic perception. The features and correlation of these subsystems are determined by the development of digital technologies in modern culture. In the developing digital artistic culture, radical changes are taking place in all subjects of artistic activity: the place of the artist is taken by a neural network, the media environment becomes a performer, as well as a producer of the result of artistic creativity, the audience of such art consists of media users who have the skills to contact a digital artifact. The purpose of the article is to analyze changes in the subject of modern aesthetics, determined by the development of art generated by artificial intelligence. Modern philosophy of art faces problems in answering the question of the essence, artistic and aesthetic value, new expressiveness and functioning of this art in socioculture. The key to the analysis of such art is philosophical methodology, which derives from the internal interaction of art and philosophy in historical and modern culture. Aesthetics as a philosophy of art should determine the categorical apparatus for studying modern phenomena of art. The problems of the developing aesthetics of artificial intelligence were considered in the works of Western and Russian scientists at the turn of the century; the practice of digital art is being actively considered at aesthetic and cultural congresses at present. The need to develop a theoretical and aesthetic analysis of art generated by artificial intelligence and to coin a new definition of categories traditional for aesthetics, such as artistic creativity, artistic image, language of art, the value of artistic artifacts, is determined by the extensive expansion of the field of new art in culture. The article concludes that the key to the analysis of such art is philosophical methodology, which is due to the internal interaction of art and philosophy in the history of culture. Aesthetics as a philosophy of art must develop a categorical apparatus for understanding modern phenomena of art.