The article analyzes the concept of “more-than-human” perception, the features of which are constructed in the networks of relations, as a result of the interaction and relationships of heterogeneous forces (human activities, animals, bacteria, objects, technologies, etc.). This is not a subjective human perception, personal judgment of individual taste or social “distribution of sensitive”, but the collaborative process of configuring affective “field of the possible things” (define perception) as a result of the participation of multiple actants in the creation of life events, situations, processes, and conflicts. Based on the philosophical ideas of A. Bergson, W. Whitehead, J. Simondon, J. Deleuze, and F. Guattari, the author examines the affective nature of the interaction between the works of contemporary artists and the audience-participants. It is argued that creativity and artistic practice can be reinterpreted as processes of co-creation with the movements of matter formation. It is a way to think of art not as a form, but as a process open to a continuous interval of renewal and invention, which is revealed through the material relations of matter-energy, duration, transitions, and intuition. Through affective attunement techniques, participants organize the movements of matter-en- ergy flows, and each individual perception by the subject-actant becomes a joint “more-than- human” perception. Interactive and participatory works do not reflect reality in aesthetic forms, but instead create new processes, new places of creativity (manifestations of chance), in which the aesthetic is performatively realized before it is understood and reflected by the participants themselves. The text clarifies what constitutes “more-than-human” perception, how it relates to the usual understanding of the sphere of human sensory experience, and how it is implemented when working with modern interactive and participatory art projects.
Modern Digital Art Practices and “More-than-Human” Perception