The article explores the fundamental differences between algorithmic aesthetics and the related areas in non-classical aesthetics. It finds grounds for algorithmic aesthetics to be methodologically more adequate than other numerous models to the study of digital art practices and art objects (which are created by artists-programmers, and the artistic image is embodied using modern technologies based on algorithms). The goal of the following article is to define the distinctive characteristics of digital art practices and to evaluate the viability of their research in the framework of algorithmic aesthetics. The author structures the theoretical concepts related to the subject of research of algorithmic aesthetics, including algorithmic art, science-art media art and art practices. Art practices allow to expand the creative toolkit and, therefore, to understand digital transformations in society and to cope with “algorithmic ultra-dependence”. The briefness of exhibition of the contemporary artifacts leads to their migration to the media space. At the same time, they keep on functioning thanks to computer algorithms. Algorithmic art practices are created by means of digital technologies by IT experts, who might at the same time identify themselves as researchers, choreographers and artists. The algorithmic system elaborated by programmers passes a stage of recreation of the artistic imagery already created by humankind, which is why human creativity is an integral part and a data source for algorithms.

The article explores the fundamental differences between algorithmic aesthetics and the related areas in non-classical aesthetics. It finds grounds for algorithmic aesthetics to be methodologically more adequate than other numerous models to the study of digital art practices and art objects (which are created by artists-programmers, and the artistic image is embodied using modern technologies based on algorithms). The goal of the following article is to define the distinctive characteristics of digital art practices and to evaluate the viability of their research in the framework of algorithmic aesthetics. The author structures the theoretical concepts related to the subject of research of algorithmic aesthetics, including algorithmic art, science-art media art and art practices. Art practices allow to expand the creative toolkit and, therefore, to understand digital transformations in society and to cope with “algorithmic ultra-dependence”. The briefness of exhibition of the contemporary artifacts leads to their migration to the media space. At the same time, they keep on functioning thanks to computer algorithms. Algorithmic art practices are created by means of digital technologies by IT experts, who might at the same time identify themselves as researchers, choreographers and artists. The algorithmic system elaborated by programmers passes a stage of recreation of the artistic imagery already created by humankind, which is why human creativity is an integral part and a data source for algorithms.