Know Thy Other
Dialogic Encounter and the Presence of Self and Other in Technoetic and AI-Mediated New Media Art
Bibliographic Data
| ID | 21974087 |
|---|---|
| Authors | Lila Moore (0000-0001-9725-1831, Wirral Community Health and Care NHS Foundations Trust, corresponding author) |
| Year | 2026 |
| Volume | 15 |
| Issue | 6 |
| Pages | 127 |
| Publication date | 2026-06-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Arts (JOURNAL) |
| Journal identifiers | ISSN: 2076-0752 • E-ISSN: 2076-0752 |
| Publisher | MDPI AG (PUBLISHER • IT) |
| DOI | 10.3390/arts15060127 |
| OpenAlex | W7163004203 |
| Language | EN |
| References cited | 11 |
This article examines dialogic presence as articulated by Martin Buber and explores its continued relevance within contemporary technoetic and AI-mediated new media art. Drawing on Buber’s early writings on art, theatre, and dance—particularly Daniel (1913)—the article first analyses the dialogic relations between artist, art form, and viewer, with attention to the aesthetic principles of distance, unity, and presence that structure the I–Thou encounter. The second part explores the correlation between Buber’s dialogic philosophy and the principles of technoetic art as theorised by Roy Ascott, focusing on the telematic installation Aspects of Gaia: Digital Pathways across the Whole Earth (1989) as a paradigmatic example of dialogic encounter within technologically mediated environments. The third part examines seven artworks from the Infinite Self Pavilion, curated for The Wrong Biennale (2025–2026), as illustrative examples. These works engage AI-mediated aesthetics to interrogate the relation between Self and Other through modes of dialogic encounter and presence induced by orbital apparatus, installation, and screen practices, positioning the viewer at the centre of the encounter while challenging the limits of human consciousness. The article concludes by foregrounding Buber’s ethical stance toward advanced technologies, emphasising relational responsibility and humility in dialogue with Ascott’s technoetic ethics
Alterity · Contemporary art · Dialogic · Foregrounding · New media · Self · Posthumanist Ethics and Activism · Sound Studies and Aurality · Theatre and Performance Studies
| Citation velocity | historical |
|---|---|
| Highly cited | No |