The aesthetic dimensions of contemporary digital art between the fantasy of reception and the modernity of technology.

Abstract

Man has practiced various types of art since the beginning of his first consciousness, without distinguishing between utilitarian and recreational purposes. Because art is one of the most flexible activities of the self, in accordance with its desires, inclinations, and needs, it was the most receptive, accommodating, and inclusive of the self's ambitions, goals, and pursuit of a better future, even if it reached the point of transcending reality to become a form of fantasy. The artist exploited this, creating an artistic fantasy in accordance with the environmental data prevailing in his society, whether social, political, or technical. With the passage of time, the exacerbation of social problems and the multiplicity of their precursors, and the advancement of technological inventions, he excelled in creating a virtual aesthetic that reached its peak in contemporary digital art. This, in turn, produced unique aesthetic dimensions through scientific technology, creating a virtual poetic reality teeming with realistic human feelings and emotions, but with an unrealistic vision. This, in turn, created a cognitive problem between the ego and reality, which led to... Fantasy is an alternative solution to this reality and leaves an aesthetic impact on the recipient's self, with several reading dimensions through a multifaceted act of reception. From this starting point, the current research was founded, consisting of four chapters. The first chapter contained the research problem, which revolved around the following question: What are the aesthetic dimensions of contemporary digital art generated between the fantasy of reception and the modernity of technology? The chapter also included the importance of the research and the need for it. The aim of the research is to identify (the aesthetic dimensions of contemporary digital art between the fantasy of reception and the modernity of technology). It also included the limits of the research and the definition of its terms. Chapter Two comprises three sections. The first section examines the concept of fantasy and the cognitive and aesthetic reception associated with it. The second section examines the concept of fantasy and the psychological reception associated with it as stated in the psychoanalytic theories of Freud, Jung, and Kress. The third section examines digital art, the modernity of technology, and its aesthetic themes. The chapter concludes with the theoretical framework's indicators. Chapter Three addresses the research procedures, starting with the research community, followed by its sample, methodology, and tools, followed by an analysis of the research sample. Chapter Four reviews the research results and conclusions, as well as recommendations and suggestions.