邁入二十一世紀之際，新資訊結構的組構模式裡，資料與演算已逐漸滲透於文化領域，進而在當代科技文化中扮演如同中樞神經系統的角色，促使了「軟體轉向」（software turn）與「演算法文化」（algorithmic culture）成為當代全球網絡社會中兩個核心命題的客觀現實。在藝術創作實踐面向亦不例外，資料結構與美學之間的固有關連，已從其所攜帶之資料承載容器的潛在關係，或軟體構成要素所建立的實際關係，逐步發展成相互融匯混成的「數位美學」（digital aesthetics），啓發來自個人的、文化的，以及媒體的等各種不同形式的可能性。本研究透過哲學論述與科技文化分析取徑，聚焦於當代科技藝術創製的本質與發展進程轉向的分析上，探究從數位轉向、軟體轉向到演算法轉向後，當代科技藝術的本質何以體現出與傳統當代藝術（contemporary art）不同的獨特性。

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.