ABSTRACT
The demarcation of “natural” and “artificial” within the sphere of art is a fascinating conundrum, prompting a need to rethink these terminologies. Our prevailing comprehension primarily depends on aesthetic values, structural aspects, and individual perceptions. “Natural” art, we presume, is untainted by human touch, whereas “artificial” art is conceived through human or algorithmic inventiveness. However, every artwork, no matter its derivation from nature, human volition, or computational unpredictability, is an intrinsic component of the universe, a tribute to the omnipresence of being. Defining “natural” proves to be enigmatic. Is it vested in nature's capriciousness and randomness? Or does it lie in the patterns and balance that nature occasionally portrays, as witnessed in crystal formations? Similarly, the “artificial” productions of humans and computers, albeit resulting from intent, mirror the identical cosmic energy propelling natural formations. Regardless of their genesis and the evident disparities, all these creations partake in the ceaseless choreography of genesis that embodies our cosmos. The separation between “natural” and “artificial” is not as definite as it initially seems. In reality, every creative process, irrespective of its source, manifests the same universal dynamics and thus forms an inseparable fragment of the cosmic composition of existence. Hence, the universe prompts us to peer beyond the apparent, to discern the fundamental synchrony in all creation, and to acknowledge every instance of art, whether “natural” or “artificial,” as an homage to the cosmic ballet of genesis.
