This paper explores Roy Ascott (1934–) and his conceptual world of “technoetic art,” including his artistic and aesthetic projects and concepts. I argue Ascott is one of the important harbingers of digital art aesthetics in the 1960s, even though he didn’t call his works digital art, because for Ascott the important features to develop in art and aesthetics are interactivity and co-creation. These principles place him immediately before a developing late 20th century and early 21st century more digital-based artistry that holds to the same principles. He has written many articles and arranged many artistic projects for over three decades. I focus on explaining his most well-known article, “Is there Love in the Telematic Embrace?”, while exploring his concepts of technoetics, telematics, and consciousness. I think he provides many early insights and important intuitions into later digital art practice that have seldom been discussed by those analyzing digital art. Through this article, I concentrate on his view of how a new communicative environment can change art’s relation to topics like human dignity and the posthuman condition. In short, my main research topic is how well Ascott’s “technoetic” concepts connect to the existing literature and practice of digital art’s aesthetic experience.


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pp. 205-232
Launched on MUSE
Open Access
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