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Installation art is an artistic genre of three-dimensional works that are often site-specific and designed to transform the perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called public art, land art or art intervention; however, the boundaries between these terms overlap.
Interactive art is a form of art that involves the spectator in a way that allows the art to achieve its purpose. Some interactive art installations achieve this by letting the observer walk through, over or around them; others ask the artist or the spectators to become part of the artwork in some way.
Generative art is post-conceptual art that has been created with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator.
In music, montage or sound collage is a technique where newly branded sound objects or compositions, including songs, are created from collage, also known as Musique concrète. This is often done through the use of sampling, while some sound collages are produced by gluing together sectors of different vinyl records. Like its visual cousin, sound collage works may have a completely different effect than that of the component parts, even if the original parts are recognizable or from a single source. Audio collage was a feature of the audio art of John Cage, Fluxus, postmodern hip-hop and postconceptual digital art.
Electronic art is a form of art that makes use of electronic media. More broadly, it refers to technology and/or electronic media. It is related to information art, new media art, video art, digital art, interactive art, internet art, and electronic music. It is considered an outgrowth of conceptual art and systems art.
Information art, which is also known as informatism or data art, is an art form that is inspired by and principally incorporates data, computer science, information technology, artificial intelligence, and related data-driven fields. The information revolution has resulted in over-abundant data that are critical in a wide range of areas, from the Internet to healthcare systems. Related to conceptual art, electronic art and new media art, informatism considers this new technological, economical, and cultural paradigm shift, such that artworks may provide social commentaries, synthesize multiple disciplines, and develop new aesthetics. Realization of information art often take, although not necessarily, interdisciplinary and multidisciplinary approaches incorporating visual, audio, data analysis, performance, and others. Furthermore, physical and virtual installations involving informatism often provide human-computer interaction that generate artistic contents based on the processing of large amounts of data.
Peter Reyner Banham Hon. FRIBA was an English architectural critic and writer best known for his theoretical treatise Theory and Design in the First Machine Age (1960) and for his 1971 book Los Angeles: The Architecture of Four Ecologies. In the latter he categorized the Los Angeles experience into four ecological models and explored the distinct architectural cultures of each. A frequent visitor to the United States from the early 1960s, he relocated there in 1976.
Experiments in Art and Technology (E.A.T.), a non-profit and tax-exempt organization, was established in 1967 to develop collaborations between artists and engineers. The group operated by facilitating person-to-person contacts between artists and engineers, rather than defining a formal process for cooperation. E.A.T. initiated and carried out projects that expanded the role of the artist in contemporary society and helped explore the separation of the individual from technological change.
Johan Wilhelm Klüver was an American electrical engineer at Bell Telephone Laboratories who founded Experiments in Art and Technology. Klüver lectured extensively on art and technology and social issues to be addressed by the technical community. He published numerous articles on these subjects. Klüver curated for fourteen major museum exhibitions in the United States and Europe. He received the prestigious Ordre des Arts et des Lettres award from the French government.
Camille Utterback is an interactive installation artist. Initially trained as a painter, her work is at the intersection of painting and interactive art. One of her most well-known installations is the work Text Rain (1999).
Scott Snibbe is an interactive media artist, author, entrepreneur, and meditation instructor who hosts the Skeptic's Path to Enlightenment meditation podcast. His first book, How to Train a Happy Mind, was released in 2024. Snibbe has collaborated with other artists and musicians, including Björk on her interactive “app album” Björk: Biophilia that was acquired by New York's MoMA as the first downloadable app in the museum's collection. Between 2000 and 2013 he founded several companies, including Eyegroove, which was acquired by Facebook in 2016. Early in his career, Snibbe was one of the developers of After Effects.
Maurice Benayoun is a French new-media artist, curator, and theorist based in Paris and Hong Kong.
Virtual art is a term for the virtualization of art, made with the technical media developed at the end of the 1980s. These include human-machine interfaces such as visualization casks, stereoscopic spectacles and screens, digital painting and sculpture, generators of three-dimensional sound, data gloves, data clothes, position sensors, tactile and power feed-back systems, etc. As virtual art covers such a wide array of mediums it is a catch-all term for specific focuses within it. Much contemporary art has become, in Frank Popper's terms, virtualized.
Responsive architecture is an evolving field of architectural practice and research. Responsive architectures are those that measure actual environmental conditions to enable buildings to adapt their form, shape, color or character responsively.
Jeffrey Shaw is a visual artist known for being a leading figure in new media art. In a prolific career of widely exhibited and critically acclaimed work, he has pioneered the creative use of digital media technologies in the fields of expanded cinema, interactive art, virtual, augmented and mixed reality, immersive visualization environments, navigable cinematic systems and interactive narrative. Shaw was co-designer of Algie the inflatable pig, which was photographed above Battersea Power Station for the 1977 Pink Floyd album, Animals.
Jennifer Steinkamp is an American installation artist who works with video and new media in order to explore ideas about architectural space, motion, and perception.
New media art includes artworks designed and produced by means of electronic media technologies. It comprises virtual art, computer graphics, computer animation, digital art, interactive art, sound art, Internet art, video games, robotics, 3D printing, immersive installation and cyborg art. The term defines itself by the thereby created artwork, which differentiates itself from that deriving from conventional visual arts such as architecture, painting or sculpture.
Ulf Langheinrich is a visual artist and composer.
His work is mainly concerned with non-narrative environments and performances focusing on a specific approach to time, space and body. Since 2016 he is the Artistic Director of the International Festival for computer based art CynetArt in Dresden, Germany.
Michael J. Lewis is an American art historian and architectural critic. He is the Faison-Pierson-Stoddard Professor of Art History at Williams College and the architectural critic for The Wall Street Journal.
References
- Bullivant, Lucy (2006). Responsive Environments: architecture, art and design (V&A Contemporaries). London:Victoria and Albert Museum. ISBN 1-85177-481-5
- Bullivant, Lucy (2005). 4dspace: Interactive Architecture (Architectural Design). London: John Wiley & Sons. ISBN 0-470-09092-8
- Christiane Paul (2003). Digital Art (World of Art series). London: Thames & Hudson. ISBN 0-500-20367-9
- Wands, Bruce Art of the Digital Age, Thames and Hudson 2006, pp. 89, 139, ISBN 0500286299 | ISBN 978-0500286296
- Weibel, Peter and Shaw, Jeffrey, Future Cinema, MIT Press 2003, pp. 472,572-581, ISBN 0-262-69286-4
- Wilson, Steve Information Arts: Intersections of Art, Science, and Technology ISBN 0-262-23209-X