digital technology, determinism, artificial intelligence, cultural practice, singularity


The purpose of the article is to explore the importance of digital technology in the organisation of the creative process. The article analyses the methods of using digital technologies in cultural practices, highlights theoretical reflections on the meaning of technology in artistic creativity through the prism of the provisions of technological determinism. The research methodology is based on an integrated approach and a combination of several methods: analytical — to consider philosophical, sociological, cultural and art studies literature on the subject of research; theoretical and conceptual method — to analyse the conceptual and terminological system of research and identify the features of the introduction of digital technologies in cultural practices, as well as a comparative typological method — to compare the specifics of human activity and the functioning of mechanised equipment in the process of creating a work of art. The scientific novelty of the work lies in the fact that for the first time the features of using digital technologies, in particular artificial intelligence, in the process of creating artwork are considered, the provisions of the concepts of “technological determinism” and “singularity” are analysed (using examples of creating works of art through the use of digital technologies). Conclusions. As a result of the automation of the creative process, a decrease in human activity is revealed, which actualises the issue of the uniqueness of artistic work. Potential threats related to the misuse of digital technologies, in particular artificial intelligence, and people’s excessive trust in automated mechanisms are identified.

Author Biography

Tetiana Sovhyra, Kyiv National University of Culture and Arts, Kyiv, Ukraine

PhD in Art Studies, Associate Professor


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How to Cite

Sovhyra, T. (2022). THE ISSUE OF TECHNOLOGICAL DETERMINISM IN ARTISTIC PRACTICES: CULTURAL REFLECTIONS. Culture and Arts in the Modern World, (23), 138–144.