Ontological Machinery of the Artistic Process: the Becoming-Technical and Art

This article pursues dual purpose. On the one hand, the author analyzes the general and the most important in the technical being since only therewith it is possible to conceptualize the sphere of technical objects and to determine the place of technics with respect to the art. So the article is devoted to new ontological opportunity of the technics’ entity perception by its connection with art. This relationship we consider in the context of “technological revolution” in the art. Moreover, it has been tried to be revealed possible mechanisms of technics emancipation with the help of the art and to be shown that technology can emancipate the art using both artistic techniques and inartistic technological processes. On the other hand, the aim of our article is to provide with a presentation of some onto technological key ideas, along with some conceptual approaches (for example, Levis Brуant’s onto-cartography) which we can distinguish by their further connection with the modern art. Conception of ontology in the terms of technics by all means has become the urgent task for philosophy, and one of the ways to solve this task is to investigate the relationship between ontology and technics. The author of the article argues that the confrontation between nature and technology is an illusion. We tried to complete this argument combining the ontology of nature and of technology in one concept – the concept of machine. Recently most works of art have become technological objects revealing the problem of “technical” art. In the article it is proposed the analysis of some modern works of art and is demonstrated that “the nature” and technics cannot be no more opposed and differentiated since one gives birth to another. Moreover, it is existed only techno-nature and its production (in the difference of repetition and creation) is the final question of techno-art.