The most focused problem facing the philosophy of art in modern and contemporary society is the exploration of the relationship between human beings, science, and technology. Contemporary society is characterized by the rapid development of science and technology. New media have become integrated into traditional artistic media and, in some cases, have even replaced them, creating a rich variety of artistic forms. Although social research methods can enable people to understand the artistic process in modern society more accurately and intuitively, they tend to derive practical laws that are specific in nature and often overlook ideological and spiritual exploration and reflection. Furthermore, the material enrichment of artistic production and the superficial filling of the human spiritual world with popular culture are insufficient to explain the profound interaction between human beings and such environments. How people’s ideas participate in modern artistic activities, the changes in human existence caused by the transformation of media through technological developments, and the impact of the rapid advancement of mechanical and electronic industries on human subjectivity should all be elevated to the level of philosophical inquiry. The problems concerning art and technology are concentrated in both their material and spiritual dimensions, particularly in relation to human consciousness. Human activities create an objective world while simultaneously shaping human beings, including their perceptions, preferences, classifications, and aesthetic judgments. However, the subject and spirit of modern and contemporary art are seriously threatened by the negative exclusion resulting from technological development. New technologies based on electronic computers and the Internet have greatly increased the speed of data processing and information dissemination. The speed at which information spreads can exceed the public’s ability to absorb and understand knowledge, resulting in passive and often blind patterns of reception. Faced with an overwhelming amount of information containing mixed and diverse content, when people are unable to independently select and employ effective learning methods or efficiently filter out useless information, they may easily waste time and consume energy. They may also gradually lose their capacity for abstract thinking and self-transcendence, causing them to experience mental anxiety, confusion, or depression and become increasingly dependent on technology. Furthermore, highly developed technology may expose the user’s body to the danger of “amputation,” creating a situation in which individuals face a dual challenge to both their physical and mental activities. As manual skills gradually lose their practical value, people become increasingly dependent on technological operations. By transferring their abilities to technology, they may surrender and lose their practical skills, creativity, and capacity for appreciation, becoming mechanical and passive recipients under the dominance and control of technology developers. At the same time, the technological transformation and informatization of the forms and content of art gradually diminish the essence of art itself. The accelerated playback of films and television programs, the consumption of film advertisements, and similar practices significantly compress the details of artistic works and simplify them into mere processes of information reception. People tend to consume works that are less artistic and intellectually fulfilling while simplifying their own processes of thinking and reflection. Marcuse once hoped to address the problem of human spiritual deficiency through artistic means. However, as an important field that is also deeply affected by high technology, the question of whether art itself can maintain a continuously renewed vitality capable of stimulating human creativity and motivation for learning is a problem that must be considered and addressed from a philosophical perspective. The philosophy of art should intersect with history, sociology, communication, psychology, and other disciplines. Through the accumulation of knowledge at different levels and by combining analysis and synthesis, it can achieve a more appropriate understanding of the fundamental issues of art within the context of the contemporary era. At the end of the nineteenth century and the beginning of the twentieth century, the scientific school of art aesthetics, represented by Max Dessoir, advocated a strict distinction between the philosophy of beauty, aesthetics, and the philosophy of art. It argued that a general, scientific, objective, and descriptive science of art should be established, distinct from traditional aesthetics. According to this view, “aesthetics is incapable of studying all artistic phenomena, while individual artistic laws require general artistic principles; therefore, a new discipline should be established, adopting different approaches from philosophy, sociology, psychology, ethics, and other fields. Thus, it serves as a bridge from concrete art to the philosophy of art.” The philosophy of art needs to draw general conclusions concerning truth, while artistic phenomena at the social level require systematic and profound analysis by disciplines closely connected to reality. The exploration of the laws of art should not remain confined to the realm of spiritual activities; rather, it should be comprehensively connected to the various social realities that influence the human spirit. The development of Western philosophy of art also encourages reflection on the theories and history of classical Chinese philosophy that contain artistic perspectives, with the aim of advancing the philosophy of art within traditional Chinese culture and improving the categories and approaches of the philosophy of art history within the framework of Chinese art theory. The rational and speculative elements of traditional Western philosophy should not be completely discarded in any era simply because of an increased emphasis on irrationality. Rational and perceptual approaches cannot be entirely separated; instead, they intersect, complement one another, and work together throughout the process of artistic activity...Almustaqbal University, The First University in Iraq.