The aim of this work was to examine and oversee the relationship of computer-assisted technology, which began in the last century and is now almost unpredictable in size, to art in the field of artistic activity, its reflections of observable effects and its relation to art in the historical context of art.
Even when we look at the most basic form, we can see that any field of application, which we can call art, absolutely requires technical knowledge. From the paintings on the walls of the cave, figurines carved into animal bones, from vessels and sculptures made of clay to the most primitive musical instruments, it is a generally accepted finding that the process of humanization begins with the use of man's technique and that this technique can be used as much as today. But at the same time, this inevitable use of technique in human expression immediately brings with it another paradoxical problem. Excessive use or exaggeration of the technique 'causes' the artistic expression to be overshadowed or lost.
From this dilemma, it can be seen that the processes that are as far as the day-to-day from the farthest times of human beings can manifest quantitatively very differently, but they have not changed much. Today 'high technology', however, shows the possibility of a qualitative transformation in this process.
Despite everything, if the artistic process is thought to be a reflection of the deepest expressions or deepest feelings, it is worth discussing whether it is a technology problem to reach these depths or not.
Keywords: art, technical, high tech, camera obscura