POSTHUMANIST INTERACTION AND CERAMIC ART LANGUAGE

Yusuf Can Kulak

Abstract


This study aims to examine how posthumanist thought redefines the concept of creativity and its impact on ceramic art. Conventional notions of creativity position the artist as a central and singular subject; however, this approach has proven insufficient in material- and process-oriented disciplines such as ceramics. The research problem is based on the premise that considering material and technology as merely passive elements in the creative process is an inadequate perspective within contemporary production practices. The study employs a qualitative analysis method, conducting a literature review on the fundamental principles of posthumanist thought and the concept of creativity, followed by an examination of creative processes in ceramic art where humans, materials, and technology coexist (coexistence). The findings indicate that with the increasing role of AI-driven algorithms and robotic systems in artistic production, the creative process in ceramic art has shifted from a human-centered approach to a multi-layered and relational production model. This transformation repositions material and technology as active, creative agents, fostering the development of new aesthetic approaches and production techniques.

 

Article visualizations:

Hit counter


Keywords


posthumanism, ceramic art, algorithmic culture, AI, coexistence, digital creativity

Full Text:

PDF

References


Ackerman, E. (2024, January 16). The man who coined the word robot defends himself: Karel Čapek explains what everyone misunderstood about his creation. IEEE Spectrum. Retrieved from https://spectrumieeeorg.translate.goog/karelcapekrobots?_x_tr_sl=en&_x_tr_tl=tr&_x_tr_hl=tr&_x_tr_pto=tc

Arts Observer. (2012, May 24). Anish Kapoor stages a mesmerizing forest of concrete. Retrieved from http://www.artsobserver.com/2012/05/24/anish-kapoor-has-staged-a-mesmerizing-forest-of-concrete-at-gladstone-gallery/ (Accessed on: 11 December 2024).

AIArtists.org. (2025). Ben Snell is a New York-based artist whose practice investigates materialities and ecologies of computation. Retrieved from https://aiartists.org/ben-snell (Accessed on: 11 December 2024).

Atay, R, S. (2023). Creative posthumanism and Bogdan Rata. Revue Des Sciences Politiques, 79, 101–111. Retrieved from https://www.ceeol.com/search/article-detail?id=1195330 (Accessed on: 12 May 2024).

Batukan, C. (2017). On soul in robotism, robot, android, cyborg and artificial intelligence. Istanbul.

Bell, D. (2005). An Introduction to Cybercultures. Taylor & Francis E-Library. Retrieved from https://www.routledge.com/An-Introduction-to-Cybercultures/Bell/p/book/9780415246590?srsltid=AfmBOopF4Db9FLo9k1CY2YE2Gk6oGVQN79Cvp75fVzQ4p1H3cXjSFkuI

Benjamin, W. (1936). The work of art in the age of mechanical reproduction. In H. Arendt (Ed. & Trans.), Illuminations (pp. 217–251). Schocken Books.

Bishop, M. (2016, January 26). Autopoiesis in Creativity and Art. Retrieved from https://www.academia.edu/76302002/Autopoiesis_in_Creativity_and_Art?email_work_card=title (Accessed on: 26 January 2025).

Braidotti, R. (2021a). The Posthuman (Trans. Ö. Karakaş, 4th ed.). Istanbul. Retrieved from https://rosibraidotti.com/publications/the-posthuman-2/

Braidotti, R. (2021b). Posthuman Knowledge (Trans. S. Sam & E. Çapa, 1st ed.). Istanbul. Retrieved from https://rosibraidotti.com/publications/posthuman-knowledge/

Broeckmann, A. (2017). Body machine. In Machine Art in the Twentieth Century (pp. 167–221). The MIT Press. http://dx.doi.org/10.7551/mitpress/9780262035064.003.0006

Byung C., H. (2024). Looking at the Digital World in the Crowd (Trans. Z. Sarıkartal). İnka Publishing.

Chau, A. (2024). Generated Love. Retrieved from https://www.adamchau.com/portfolio/generated-love (Accessed on: 17 January 2025).

Christies. (2018, November 12). Christie’s Obvious and the Interface Between Art and Artificial Intelligence. Retrieved from https://www.christies.com/en/stories/a-collaboration-between-two-artists-one-human-one-a-machine-0cd01f4e232f4279a525a446d60d4cd1 (Accessed on: 20 November 2024).

Clovis, J. (2025). Juliette Clovis About. Retrieved from https://www.julietteclovis.com/about (Accessed on: 13 April 2025).

Da Vinci, L. (c. 1490). Vitruvian Man [Drawing]. Gallerie dell’Accademia, Venice. Retrieved from https://www.italian-renaissance-art.com/Vitruvian-Man.html (Accessed on: 2 April 2025).

Demilked. (2023). Sternocera, by Juliette Clovis. Retrieved from https://www.demilked.com/sternocera-by-juliette-clovis/ (Accessed on: 13 April 2025).

Dorin, A. (2015). Artificial life art, creativity, and techno-hybridization. Artificial Life, 21(3), 261–270. https://doi.org/10.1162/artl_e_00166

Eden, M. (2025, January 21). After Saly II, 2018. Retrieved from http://www.michael-eden.com/form-and-transfrom/tjq8vtbxo4l25o8xcwiaogwyplln1f (Accessed on: 21 November 2024).

Emerging Objects. (2016a, January 11). Seed Stitch. Retrieved from https://emergingobjects.com/project/seed-stitch/ (Accessed on: 11 January 2025).

Emerging Objects. (2019b, October 6). Mud Frontiers: Part II. Retrieved from https://emergingobjects.com/project/mud-frontiers-part-ii/ (Accessed on: 6 October 2024).

Ferrin Contemporary. (2025). Sergei Isupov, on view. Retrieved from https://ferrincontemporary.com/portfolio/sergei-isupov/ (Accessed on: 10 May 2025).

Haraway, D. (2006). A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century (Trans. O. Akınbay). Agora Publishing. http://dx.doi.org/10.1007/978-1-4020-3803-7_4

Hassan, I. (1977). Prometheus as Performer: Toward a Posthumanist Culture? The Georgia Review, 31(4), 830–850. Retrieved from http://www.jstor.org/stable/41397536

Hayles, N. K. (1999). How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. University of Chicago Press. Retrieved from https://monoskop.org/images/5/50/Hayles_N_Katherine_How_We_Became_Posthuman_Virtual_Bodies_in_Cybernetics_Literature_and_Informatics.pdf

Herbrechter, S. (2021, July 7). Posthumanist Aesthetics. Retrieved from https://stefanherbrechter.com/wpcontent/uploads/2021/07/PosthumanistAesthetics.pdf (Accessed on: 17 December 2024).

Inspiration Grid. (2 Mart 2020). Porcelain Sculptures by Juliette Clovis. Retrieved from https://theinspirationgrid.com/porcelain-sculptures-by-juliette-clovis/ (Accessed on: 19 March 2025).

Kac, E. (2005). Telepresence & Bio Art: Networking Humans, Rabbits and Robots. University of Michigan Press. Retrieved from https://monoskop.org/images/e/eb/Kac_Eduardo_Telepresence_and_Bio_Art_Networking_Humans_Rabbits_and_Robots_2005.pdf

Kulak, C., Y. (2015). Systematic Chaos: Exhibited 2018: Saatchi Art. (Yusuf Can Kulak).

Lebenson Gallery. (2025, October 30). Famous French Art Collective: Obvious. Retrieved from https://www.lebensongallery.com/collections/obvious (Accessed on: 30 October 2024).

Micali, A., & Pasqualini, N. (2019). Posthuman Aesthetics: Perception and Relationality, Mapping the Field Through the Lens of Critical Posthumanism. Retrieved from https://www.academia.edu/40431972/Posthuman_aesthetics_Perception_and_relationality_mapping_the_field_through_the_lens_of_critical_posthumanism

Milner, A. (2010). Tenses of Imagination: Raymond Williams on Science Fiction, Utopia and Dystopia. Peter Lang.

Reljic, T. (2017, May 8). Codifying the Changes: Cristina Ghinassi & Edward Duca. Malta Today. Retrieved from https://www.maltatoday.com.mt/arts/theatre_and_dance/76941/codifying_the_changes__cristina_ghinassi__edward_duca (Accessed on: 10 November 2024).

Robins, K. (2013). Image: The Culture and Politics of Seeing (Trans. N. Türkoğlu). Istanbul. Retrieved from https://www.routledge.com/Into-the-Image-Culture-and-Politics-in-the-Field-of-Vision/Robins/p/book/9780415145770?srsltid=AfmBOorZi9occHlun7LNfn9XH89pqmrdtDcWvocwohpbPuBnvQE_lQ22

Sutton, D., & Jones, M. D. (2016). Deleuze from a New Perspective. Collective Book. Retrieved from https://www.scribd.com/document/318753087/Damian-Sutton-David-Martin-Jones-Deleuze-Reframed-pdf

Tureng Dictionary. (2025, February 14). Autopoiesis. Retrieved from https://tureng.com/tr/turkce-ingilizce/autopoiesis (Accessed on: 14 February 2025).




DOI: http://dx.doi.org/10.46827/ejlll.v9i1.613

Refbacks

  • There are currently no refbacks.


Copyright (c) 2025 Yusuf Can Kulak

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

The research works published in this journal are free to be accessed. They can be shared (copied and redistributed in any medium or format) and\or adapted (remixed, transformed, and built upon the material for any purpose, commercially and\or not commercially) under the following terms: attribution (appropriate credit must be given indicating original authors, research work name and publication name mentioning if changes were made) and without adding additional restrictions (without restricting others from doing anything the actual license permits). Authors retain the full copyright of their published research works and cannot revoke these freedoms as long as the license terms are followed.

Copyright © 2017-2026. European Journal of Literature, Language and Linguistics Studies (ISSN 2559 - 7914 / ISSN-L 2559 - 7914). All rights reserved.

This journal is a serial publication uniquely identified by an International Standard Serial Number (ISSN) serial number certificate issued by Romanian National Library. All the research works are uniquely identified by a CrossRef DOI digital object identifier supplied by indexing and repository platforms. All the research works published on this journal are meeting the Open Access Publishing requirements and standards formulated by Budapest Open Access Initiative (2002), the Bethesda Statement on Open Access Publishing (2003) and  Berlin Declaration on Open Access to Knowledge in the Sciences and Humanities (2003) and can be freely accessed, shared, modified, distributed and used in educational, commercial and non-commercial purposes under a Creative Commons Attribution 4.0 International License. Copyrights of the published research works are retained by authors.