Abstract
At the turn of the 21st century, data and computing in the configuration of new information structures have gradually infiltrated the cultural sphere and, ergo, begun functioning as the central nervous system of contemporary technological culture. Such a development establishes the objective fact that the ＂software turn＂ and ＂algorithmic culture＂ have become two kernel propositions in contemporary global network society. The inherent ties between data structures and aesthetics have evolved from the potential relations between data and their containers, or the actual relations among software components, into integrated, hybridized digital aesthetics that open up endless possibilities for individuals, cultures, and media. Employing philosophical discourses and technological culture analysis, while revolving around the nature and development of the making of contemporary techno-art, this study seeks to address the question of how contemporary techno-art distinguishes itself from conventional contemporary art after its digital, software, and algorithmic turns.