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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.
Postdigital, in artistic practice, is a term that describes works of art and theory that are more concerned with being human than with being digital, similar to the concept of "undigital" introduced in 1995, where technology and society advances beyond digital limitations to achieve a totally fluid multimediated reality that is free from artefacts of digital computation. The postdigital is concerned with our rapidly changed and changing relationships with digital technologies and art forms.
The Pleasure of the Text is a 1973 book by the French literary theorist Roland Barthes.
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.
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.
Roy Ascott FRSA is a British artist, who works with cybernetics and telematics on an art he calls technoetics by focusing on the impact of digital and telecommunications networks on consciousness. Since the 1960s, Ascott has been a practitioner of interactive computer art, electronic art, cybernetic art and telematic art.
The Planetary Collegium is an international transcultural and transdisciplinary new media art educational research platform that promotes on the doctorate level the integration of art, science, technology, and consciousness research under the rubric of the technoetic arts. It is based in the School of Art, Design and Architecture department at Plymouth University in the United Kingdom with nodes in Trento, Lucerne and Shanghai. Since its inception in 1994, over 80 doctoral candidates have graduated from the Planetary Collegium with Plymouth University PhDs. The founding President is Professor Roy Ascott.
Sharon Grace is an American artist, currently a Professor Emeritus at the San Francisco Art Institute, who is known for initiating the use of many forms of electronic media based in audiovisual technology. Since 1970, Grace has worked with telecommunications as art, embedding interactive video and speech recognition in her work including video installation, electronic synthesis, interactive digital systems, and sculpture in stone and steel.
Telematic art is a descriptive of art projects using computer-mediated telecommunications networks as their medium. Telematic art challenges the traditional relationship between active viewing subjects and passive art objects by creating interactive, behavioural contexts for remote aesthetic encounters. Telematics was first coined by Simon Nora and Alain Minc in The Computerization of Society. Roy Ascott sees the telematic art form as the transformation of the viewer into an active participator of creating the artwork which remains in process throughout its duration. Ascott has been at the forefront of the theory and practice of telematic art since 1978 when he went online for the first time, organizing different collaborative online projects.
Francesco Monico is a teacher, researcher, pedagogist in Italy.
Systems art is art influenced by cybernetics and systems theory, reflecting on natural systems, social systems, and the social signs of the art world itself.
Edward A. Shanken is an American art historian, whose work focuses on the entwinement of art, science and technology, with a focus on experimental new media art and visual culture. Shanken is Professor of digital arts & new media at UC Santa Cruz. His scholarship has appeared in numerous journals and anthologies and has been translated into many languages. Shanken is the author of Art and Electronic Media, among other titles.
Hybrid art is a contemporary art movement in which artists work with frontier areas of science and emerging technologies. Artists work with fields such as biology, robotics, physical sciences, experimental interface technologies, artificial intelligence, and information visualization. They address the research in many ways such as undertaking new research agendas, visualizing results in new ways, or critiquing the social implications of the research. The worldwide community has developed new kinds of art festivals, information sources, organizations, and university programs to explore these new arts.
Internet art is a form of new media art distributed via the Internet. This form of art circumvents the traditional dominance of the physical gallery and museum system. In many cases, the viewer is drawn into some kind of interaction with the work of art. Artists working in this manner are sometimes referred to as net artists.
Robert Adrian (1935–2015), also known as Robert Adrian X, was a Canadian artist who made radio and telecommunications art. Adrian moved from Canada to Vienna, Austria in 1972 where he became known for creating experimental artworks using radio and communications technologies. His work The World in 24 Hours, which connected artists in different cities and continents through telephone lines and radio, is considered to be one of the first experiments in online culture. Adrian is considered to be a pioneer in the field of telecommunications art and media art.
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.
Cybernetic art is contemporary art that builds upon the legacy of cybernetics, where feedback involved in the work takes precedence over traditional aesthetic and material concerns. The relationship between cybernetics and art can be summarised in three ways: cybernetics can be used to study art, to create works of art or may itself be regarded as an art form in its own right.
Sherrie Rabinowitz (1950–2013) was an American video artist and a pioneer in satellite-based telecommunications art. She worked exclusively with Kit Galloway under the moniker Mobile Image from 1977 onwards. She co-founded the Electronic Café International (ECI), a performance space and real café housed in the 18th Street Arts Center in Santa Monica, California, with Galloway. She died in 2013, from complications due to multiple sclerosis.
Media art history is an interdisciplinary field of research that explores the current developments as well as the history and genealogy of new media art, digital art, and electronic art. On the one hand, media art histories addresses the contemporary interplay of art, technology, and science. On the other, it aims to reveal the historical relationships and aspects of the ‘afterlife’ in new media art by means of a historical comparative approach. This strand of research encompasses questions of the history of media and perception, of so-called archetypes, as well as those of iconography and the history of ideas. Moreover, one of the main agendas of media art histories is to point out the role of digital technologies for contemporary, post-industrial societies and to counteract the marginalization of according art practices and art objects: ″Digital technology has fundamentally changed the way art is made. Over the last forty years, media art has become a significant part of our networked information society. Although there are well-attended international festivals, collaborative research projects, exhibitions and database documentation resources, media art research is still marginal in universities, museums and archives. It remains largely under-resourced in our core cultural institutions.″
A vidéothèque is a virtual or physical library of videos. The concept originated as installations in museums or art galleries, but has been extended to video libraries on websites and physical fixed libraries and mobile libraries. Noted examples include those at ARTCENA, fr:Centre national du théâtre, Paris, Minpaku, Osaka and Ars Electronica in Linz
References
- Ascott, R. (2003). Quando an onça se deita com a ovelha: a arte com mídias úmidas e a cultura pós-biológica. In: DOMINGUES, D. (ed). Arte e vida no século XXI. São Paulo: Editora UNESP. pp. 273–284
- Ascott, R. (2003). Telematic Embrace: visionary theories of art, technology and consciousness. (Edward A. Shanken, ed.) Berkeley: University of California Press, pp. 6, 376, 378, 380-381
- Monico, F. (2008). La Variazione Technoetica in "Le variazioni Grandi" Quaderno di Comunicazione 8. Roma: Meltemi.
- Ascott, R. (1997) TECHNOETIC AESTHETICS. 100 Terms and Definitions for the Post-biological Era. 1997.
- LASER talks at Roy Ascott Studio (2023) * TECHNOETIC AESTHETICS * Psiborgian Incursions. LASER Chair: Dr. Clarissa Ribeiro. https://leonardo.info/civicrm/event/info%3Fid%3D820%26reset%3D1