Posthuman aesthetics in ceramic art through artificial intelligence: Rewriting form, subjectivity, and production
Abstract
This study aims to examine the creative role of artificial intelligence in ceramic art within the
context of posthuman aesthetics. Today, with the incorporation of generative artificial
intelligence algorithms into the form creation process, art production is no longer a solely human
act. Artmaking is evolving into a multi-subjective structure shared among humans, machines, and
materials. In this context, the main objective of this study is to discuss how artificial intelligence,
not only as a technical tool but also as a conceptual partner, participates in production through
current trends in ceramic art. Qualitative content analysis and theoretical analysis based on
posthuman theory were used as research methods. Consequently, posthuman aesthetics places
both the material and the production process in ceramic art in a new intellectual and artistic
context, presenting a model of creation produced jointly by the artist-machine-material triad.
Keywords
ceramic art artificial intelligence posthuman aesthetics algorithmic creativity art and technology
References
- Ağın, B. (2021). Posthümanizm (1. baskı). Siyasal.
- Ballı, Ö. (2024). Posthümanizm/Transhümanizm ve günümüz sanatı (1. baskı). Siyasal.
- Barad, K. (2007). Meeting the universe halfway: Quantum physics and the entanglement of matter and meaning. Duke University. https://doi.org/10.1215/9780822388128
- Bennett, J. (2010). Vibrant matter: A political ecology of things (1st ed.). Duke University. https://doi.org/10.1215/9780822391623
- Braidotti, R. (2013). The posthuman (1st ed). Polity.
- Burdette, M. (2023, Aralık). Del Harrow stays true to form: Fusing clay and computer. Southwest contemporary. https://southwestcontemporary.com/del-harrow-clay-andcomputer
- Can, A. (2020). Çağdaş sanatta bedene yansıyan iz kavramı (Yüksek lisans tezi). Düzce Üniversitesi, Düzce.
- Can, E. (2018). Ortadoğu’da kahvaltı. Emre Can contemporary ceramic art. https://www.emrecanceramic.com/middle-east?pgid=jby3vlnn-f3135a00-9cbd-4ce6-9d55- 9d96ea25d61a
- Ceramics Monthly. (2018, Mayıs). Emerging artist: Emre Can. https://ceramicartsnetwork.org
- Cora, A. (2024). Dijital sanat pratiklerinde bedenin dönüşümü. T. Batu & A. C. Metin (Ed.), Dijitalleşen sanat: Plastik sanatlar (1. Baskı) (s. 7–33). Duvar.
- https://www.duvaryayinlari.com/Webkontrol/IcerikYonetimi/Dosyalar/dijitallesen-sanatplastik-sanatlar-yayin_icerik_g4186_3nBbi1rt.pdf
- Crafts Council (2010). Object P493: Wedgwoodn’t tureen by Michael Eden. https://collection.craftscouncil.org.uk/object-p493
- DeLanda, M. (2019). A new philosophy of society: Assemblage theory and social complexity (1st ed.). Continuum. https://doi.org/10.5040/9781350096769
- Dominguez. R., F. (2020). Still life: Ecologies of the modern imagination at the art museum (1st ed.). University of Chicago.
- Eden, M. (2012, Şubat). Interview with V&A museum on wedgewoodn’t. Tureen victoria and albert museum archives. https://www.vam.ac.uk/info/va-archive?srsltid=AfmBOorEX- _S0pp754FxAPb_wzqDdp-G44sahqnDea8mEVsvw_aeZMqo
- Eden, M. (2012). Wedgwoodn’t Tureen. Crafts council UK koleksiyonu. https://www.edenceramics.co.uk
- Elgammal, A., Liu, B., Elhoseiny, M., & Mazzone, M. (2017, Haziran). CAN: Creative adversarial networks, generating art by learning about styles and deviating from style norms. Arxiv. https://arxiv.org/abs/1706.07068
- Haraway, D. (2010). Siborg manifestosu (1. baskı) (Çev. G. Pusar). Başka bir yer: Kuramda ve siyasette yeni alanlar. Metis.
- Harrow, D. (2022). Artist statement. Harvey preston gallery. https://www.harveypreston.com/artists-all/del-harrow?rq=del%20harrow
- Harrow, D. (2021). Green tree. Eser fotoğrafı burdette gallery arşivinden. Erişim: https://www.delharrow.net
- Hayles, N. K. (1999). How we became posthuman: Virtual bodies in cybernetics, literature, and informatics (1st ed.). University of Chicago.
- Işıksal, A. (2017). Sleeping serisi, Border-less. Erişim: https://www.border-l-e-s-s.com/freezeframe-the-cinematic-sculpture-of-asl-iksal
- Kulak, Y. C. (2025). Post-hümanist yaratıcılığın seramik sanatına yansıması. STAR sanat ve tasarım araştırmaları dergisi, 6(10), ss. 121-139. https://dergipark.org.tr/tr/download/articlefile/4538719
- Latour, B. (2005). Reassembling the social: An introduction to actor-network-theory (1st ed). Oxford University. https://doi.org/10.1093/oso/9780199256044.001.0001
- Malafouris, L. (2013). How things shape the mind: A theory of material engagement (1st ed). MIT. doi: https://doi.org/10.7551/mitpress/9476.001.0001
- Manovich, L., Arielli, E. (2024). Artificial aesthetics. https://manovich.net/index.php/projects/artificial-aesthetics
- McCormack, J., Gifford, T., & Hutchings, P. (2019). Autonomy, authenticity, authorship and ıntention in computer generated art. 8th International conference on computational intelligence in music, sound, art and design. pp. 21–28. https://doi.org/10.48550/arXiv.1903.02166
- Mills, C. R. (2016, Haziran). Artist interview: Michael Eden on making the innovo vase. Unframed. https://unframed.lacma.org/2016/06/20/artist-interview-michael-eden-makinginnovo-vase
- Morton, T. (2019). Being ecological (1st ed.). MIT.
- Ngo, J. (2022, Eylül). Interview by Max Lakin. Cultured magazine. https://www.culturedmag.com/article/2022/05/05/jolie-ngo
- Ngo, J. (2023). Memory palace vessel series. https://www.joliengo.com
- Özgüven, S. (2020). İki, Rüya, Arasında, Ankara resim ve heykel müzesi. https://arhm.ktb.gov.tr/Artworks/Detail/3123/iki-ruya-arasinda-seramik-sergileme
- Seramik Türkiye. (2021). Dataizm: Uluslararası 3D seramik sergisi. https://www.seramikturkiye.org/post/datai%CC%87zm-uluslararasi-3d-serami%CC%87k-sergi%CC%87si%CC%87
- Sullivan, G. (2010). Art practice as research: Inquiry in visual arts (2nd ed.). Sage.
- Urgancı, N.(2020). Varlık ve hiçlik bağlamında jean-paul sartre’ın estetik teorisi. Felsefe arkivi, 52, 59-81. https://doi.org/10.26650/arcp2020-004
- Ünal, S. (2021). Estetik‑sanat‑zanaat yaklaşımıyla seramik sanatı. İstanbul aydın üniversitesi sosyal bilimler dergisi, 13(1), 199-224. doi:10.17932/iau.iaud.2009.002/iaud_v13i1007
- Vizcarrondo Laboy, A. (2022). Making in between: Emerging voices in clay. New York ceramic & glass fair catalogue. https://www.angelikvizcarrondo.com
- Watson, J. (2019). Porcelain conglomerate. Kişisel web sitesi ve sergi dökümanlarından. https://www.joeyawatson.com
- Watson, J. (2020, Aralık). Artist statement. https://joeywatson.studio
- Zylinska, J. (2019). AI art: Machine visions and warped dreams (1st ed.). Open humanities.
Abstract
Bu çalışma, yapay zekânın seramik sanatındaki yaratıcı rolünü posthüman estetik bağlamında
incelemeyi amaçlamaktadır. Günümüzde, üretken yapay zekâ algoritmalarının form yaratım
sürecine dâhil olmasıyla birlikte, sanat üretimi yalnızca insana ait bir edim olmaktan çıkmıştır.
Sanat yapımı insan, makine ve malzeme arasında paylaşılan çok özneli bir yapıya evrilmektedir.
Bu bağlamda çalışmanın temel amacı, yapay zekânın yalnızca teknik bir araç değil, aynı zamanda
kavramsal bir ortak olarak üretime nasıl katıldığını seramik sanatındaki güncel eğilimler
üzerinden tartışmaktır. Araştırma yöntemi olarak nitel içerik analizi ve posthüman teoriye dayalı
kuramsal çözümleme kullanılmıştır. Çalışmanın bulgularına göre, yapay zekâ destekli seramik
üretimi, geleneksel kavramları dönüştürerek, seramiği form, süreç ve anlam açısından yeniden
yorumlanmasına olanak sağlamaktadır. Sonuç olarak, posthüman estetik, seramik sanatında hem
malzemeyi hem de üretim sürecini yeni bir düşünsel ve sanatsal bağlama oturtmakta; sanatçımakine-malzeme üçlüsünün birlikte ürettiği bir yaratım modelini ortaya koymaktadır.
References
- Ağın, B. (2021). Posthümanizm (1. baskı). Siyasal.
- Ballı, Ö. (2024). Posthümanizm/Transhümanizm ve günümüz sanatı (1. baskı). Siyasal.
- Barad, K. (2007). Meeting the universe halfway: Quantum physics and the entanglement of matter and meaning. Duke University. https://doi.org/10.1215/9780822388128
- Bennett, J. (2010). Vibrant matter: A political ecology of things (1st ed.). Duke University. https://doi.org/10.1215/9780822391623
- Braidotti, R. (2013). The posthuman (1st ed). Polity.
- Burdette, M. (2023, Aralık). Del Harrow stays true to form: Fusing clay and computer. Southwest contemporary. https://southwestcontemporary.com/del-harrow-clay-andcomputer
- Can, A. (2020). Çağdaş sanatta bedene yansıyan iz kavramı (Yüksek lisans tezi). Düzce Üniversitesi, Düzce.
- Can, E. (2018). Ortadoğu’da kahvaltı. Emre Can contemporary ceramic art. https://www.emrecanceramic.com/middle-east?pgid=jby3vlnn-f3135a00-9cbd-4ce6-9d55- 9d96ea25d61a
- Ceramics Monthly. (2018, Mayıs). Emerging artist: Emre Can. https://ceramicartsnetwork.org
- Cora, A. (2024). Dijital sanat pratiklerinde bedenin dönüşümü. T. Batu & A. C. Metin (Ed.), Dijitalleşen sanat: Plastik sanatlar (1. Baskı) (s. 7–33). Duvar.
- https://www.duvaryayinlari.com/Webkontrol/IcerikYonetimi/Dosyalar/dijitallesen-sanatplastik-sanatlar-yayin_icerik_g4186_3nBbi1rt.pdf
- Crafts Council (2010). Object P493: Wedgwoodn’t tureen by Michael Eden. https://collection.craftscouncil.org.uk/object-p493
- DeLanda, M. (2019). A new philosophy of society: Assemblage theory and social complexity (1st ed.). Continuum. https://doi.org/10.5040/9781350096769
- Dominguez. R., F. (2020). Still life: Ecologies of the modern imagination at the art museum (1st ed.). University of Chicago.
- Eden, M. (2012, Şubat). Interview with V&A museum on wedgewoodn’t. Tureen victoria and albert museum archives. https://www.vam.ac.uk/info/va-archive?srsltid=AfmBOorEX- _S0pp754FxAPb_wzqDdp-G44sahqnDea8mEVsvw_aeZMqo
- Eden, M. (2012). Wedgwoodn’t Tureen. Crafts council UK koleksiyonu. https://www.edenceramics.co.uk
- Elgammal, A., Liu, B., Elhoseiny, M., & Mazzone, M. (2017, Haziran). CAN: Creative adversarial networks, generating art by learning about styles and deviating from style norms. Arxiv. https://arxiv.org/abs/1706.07068
- Haraway, D. (2010). Siborg manifestosu (1. baskı) (Çev. G. Pusar). Başka bir yer: Kuramda ve siyasette yeni alanlar. Metis.
- Harrow, D. (2022). Artist statement. Harvey preston gallery. https://www.harveypreston.com/artists-all/del-harrow?rq=del%20harrow
- Harrow, D. (2021). Green tree. Eser fotoğrafı burdette gallery arşivinden. Erişim: https://www.delharrow.net
- Hayles, N. K. (1999). How we became posthuman: Virtual bodies in cybernetics, literature, and informatics (1st ed.). University of Chicago.
- Işıksal, A. (2017). Sleeping serisi, Border-less. Erişim: https://www.border-l-e-s-s.com/freezeframe-the-cinematic-sculpture-of-asl-iksal
- Kulak, Y. C. (2025). Post-hümanist yaratıcılığın seramik sanatına yansıması. STAR sanat ve tasarım araştırmaları dergisi, 6(10), ss. 121-139. https://dergipark.org.tr/tr/download/articlefile/4538719
- Latour, B. (2005). Reassembling the social: An introduction to actor-network-theory (1st ed). Oxford University. https://doi.org/10.1093/oso/9780199256044.001.0001
- Malafouris, L. (2013). How things shape the mind: A theory of material engagement (1st ed). MIT. doi: https://doi.org/10.7551/mitpress/9476.001.0001
- Manovich, L., Arielli, E. (2024). Artificial aesthetics. https://manovich.net/index.php/projects/artificial-aesthetics
- McCormack, J., Gifford, T., & Hutchings, P. (2019). Autonomy, authenticity, authorship and ıntention in computer generated art. 8th International conference on computational intelligence in music, sound, art and design. pp. 21–28. https://doi.org/10.48550/arXiv.1903.02166
- Mills, C. R. (2016, Haziran). Artist interview: Michael Eden on making the innovo vase. Unframed. https://unframed.lacma.org/2016/06/20/artist-interview-michael-eden-makinginnovo-vase
- Morton, T. (2019). Being ecological (1st ed.). MIT.
- Ngo, J. (2022, Eylül). Interview by Max Lakin. Cultured magazine. https://www.culturedmag.com/article/2022/05/05/jolie-ngo
- Ngo, J. (2023). Memory palace vessel series. https://www.joliengo.com
- Özgüven, S. (2020). İki, Rüya, Arasında, Ankara resim ve heykel müzesi. https://arhm.ktb.gov.tr/Artworks/Detail/3123/iki-ruya-arasinda-seramik-sergileme
- Seramik Türkiye. (2021). Dataizm: Uluslararası 3D seramik sergisi. https://www.seramikturkiye.org/post/datai%CC%87zm-uluslararasi-3d-serami%CC%87k-sergi%CC%87si%CC%87
- Sullivan, G. (2010). Art practice as research: Inquiry in visual arts (2nd ed.). Sage.
- Urgancı, N.(2020). Varlık ve hiçlik bağlamında jean-paul sartre’ın estetik teorisi. Felsefe arkivi, 52, 59-81. https://doi.org/10.26650/arcp2020-004
- Ünal, S. (2021). Estetik‑sanat‑zanaat yaklaşımıyla seramik sanatı. İstanbul aydın üniversitesi sosyal bilimler dergisi, 13(1), 199-224. doi:10.17932/iau.iaud.2009.002/iaud_v13i1007
- Vizcarrondo Laboy, A. (2022). Making in between: Emerging voices in clay. New York ceramic & glass fair catalogue. https://www.angelikvizcarrondo.com
- Watson, J. (2019). Porcelain conglomerate. Kişisel web sitesi ve sergi dökümanlarından. https://www.joeyawatson.com
- Watson, J. (2020, Aralık). Artist statement. https://joeywatson.studio
- Zylinska, J. (2019). AI art: Machine visions and warped dreams (1st ed.). Open humanities.
Details
| Primary Language | Turkish |
|---|---|
| Subjects | Arts and Cultural Policy |
| Journal Section | Research Articles |
| Authors | |
| Publication Date | October 22, 2025 |
| Submission Date | July 8, 2025 |
| Acceptance Date | October 4, 2025 |
| Published in Issue | Year 2025 Issue: Yapay zekâ ve sanat özel sayısı |
ARTS is licensed under CC BY-NC 4.0 
PUBLISHER | JOURNAL BOARDS | INDEXES | PRICE POLICY | STATISTICS | MIAR | SHERPA ROMEO