“未完成”的状态：数字艺术的交互、生成与虚拟性如何共构一种过程美学

The State of “Unfinished”: How the Interaction, Generation, and Virtuality of Digital Art Co Construct a Process Aesthetics

摘要: 随着数字中国建设的深入推进与数字经济的蓬勃发展，数字艺术作为文化与科技融合的前沿领域，其美学范式正在发生根本性转向。本文旨在探讨数字艺术的三个核心特质——交互性、生成性与虚拟性——如何共同瓦解传统艺术作品的“封闭完满”形态，并共构出一种以“未完成”为核心特征的“过程美学”。论文首先梳理“过程美学”的理论脉络，继而分别剖析交互性带来的“作者–观者”身份弥合、生成性引发的“算法–偶发”创作逻辑，以及虚拟性所构建的“在场–缺席”体验情境。在此基础上，论证三者如何相互交织，共同使数字艺术作品从静态的、确定的“物”转变为动态的、开放的“事件”。本文的研究，不仅为理解数字艺术的本体论提供了新的理论视角，也为我国在实施文化产业数字化战略、构建富有活力的数字文化生态过程中，提供了来自艺术实践前沿的学理支撑。

Abstract: With the deepening advancement of Digital China and the vigorous development of the digital economy, digital art, as a cutting-edge field of cultural and technological integration, is undergoing a fundamental shift in its aesthetic paradigm. This article aims to explore how the three core characteristics of digital art—interactivity, generativity, and virtuality—work together to dismantle the “closed and perfect” form of traditional art works, and jointly construct a “process aesthetics” with “unfinished” as the core feature. The paper first outlines the theoretical framework of “process aesthetics”, and then analyzes the “author viewer” identity bridging brought about by interactivity, the “algorithm accidental” creative logic triggered by generativity, and the “presence absence” experiential context constructed by virtuality. On this basis, it is argued how the three intertwine and jointly transform digital art works from static and deterministic “objects” to dynamic and open “events”. The research in this article not only provides a new theoretical perspective for understanding the ontology of digital art, but also provides theoretical support from the forefront of artistic practice for China to implement the digital strategy of cultural industry and build a dynamic digital cultural ecology.