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.
Although Ascott was the first person to name this phenomenon, the first use of telecommunications as an artistic medium has occurred in 1922 when the Hungarian constructivist artist László Moholy-Nagy made the work Telephone Pictures.  This work questioned the idea of the isolated individual artist and the unique art object. In 1932, Bertold Brecht emphasized the idea of telecommunications as an artistic medium in his essay 'The Radio as an Apparatus of Communication'. In this essay, Brecht advocated the two-way communication for radio to give the public the power of representation and to pull it away from the control of corporate media. Art historian Edward A. Shanken has authored several historical accounts of telematic art, including From Cybernetics to Telematics: The Art, Pedagogy, and Theory of Roy Ascott. 
In 1977, 'Satellite Arts Project' by Kit Galloway and Sherrie Rabinowitz  used satellites to connect artists on the east and west coast of the United States. This was the first time that artists were connected in a telematic way. With the support of NASA, the artists produced composite images of participants, enabling an interactive dance concert amongst geographically disparate performers. An estimated audience of 25,000 saw bi-coastal discussions on the impact of new technologies on art, and improvised, interactive dance and music performances that were mixed in real time and shown on a split screen. These first satellite works emphasized the primacy of process that remained central to the theory and practice of telematic art. 
Ascott used telematics for the first time in 1978 when he organized a computer-conferencing project between the United States and the United Kingdom called Terminal Art. For this project, he used Jacques Vallée's Infomedia Notepad System, which made it possible for the users to retrieve and add information stored in the computer’s memory. This made it possible to interact with a group of people to make "aesthetic encounters more participatory, culturally diverse, and richly layered with meaning".  Ascott did more similar projects like Ten Wings, which was part of Robert Adrian’s The World in 24 Hours in 1982. An important telematic artwork of Ascott is La Plissure du Texte from 1983,  which allowed Ascott and other artists to participate in collectively creating texts to an emerging story by using computer networking. This participation has been termed as 'distributed authorship'.  But the most significant matter of this project is the interactivity of the artwork and the way it breaks the barriers of time and space. In the late 1980s, the interest in this kind of project using computer networking expanded, especially with the release of the World Wide Web in the early 1990s.
Thanks to the Minitel, France had a public telematic infrastructure more than a decade before the emergence of the World Wide Web in 1994. This enabled a different style of telematic art than the point-to-point technologies to which other locations were limited in the 1970s and 1980s. As reported by Don Foresta,  Karen O'Rourke,  and Gilbertto Prado,  several French artists made some collective art experiments using the Minitel, among them Jean-Claude Anglade,  Jacques-Elie Chabert,  Frédéric Develay,  Jean-Marc Philippe,  Fred Forest,  Marc Denjean  and Olivier Auber.  These mostly-forgotten experiments (with notable exceptions like the still-active Poietic Generator) foreshadowed later web applications, especially the social networks such as Facebook and Twitter, even as they offered theoretical critiques of them. 
Telematic art is now being used more frequently by televised performers. Shows such as American Idol that are based highly form viewer polls incorporate telematic art. This type of consumer applications is now grouped under the term "transmedia".
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.
The Pleasure of the Text is a 1973 book by the literary theorist Roland Barthes.
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 emerging 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.
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.
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.
Communication Aesthetics is a theory devised by Mario Costa and Fred Forest at Mercato San Severino in Italy in 1983. It is a theory of aesthetics calling for artistic practice engaging with and working through the developments, evolutions and paradigms of late twentieth century communications technologies. Observing the emerging supremacy of networks over subjects, it called for an artistic approach that was both adapted to, and invested in this changing techno-social arena.
Systems art is art influenced by cybernetics, and systems theory, that reflects on natural systems, social systems and 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, Arts Division, 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.
Technoetics is a neologism introduced by Roy Ascott, who coined the term from techne and noetic theory, to refer to the emergent field of technology and consciousness research.
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.
Paul Sermon was born 23 March 1966, in Oxford, England. Since September 2013 he has worked as Professor of Visual Communication in the Faculty of Arts at the University of Brighton.
New media art includes artworks designed and produced by means of electronic media technologies, comprising virtual art, computer graphics, computer animation, digital art, interactive art, sound art, Internet art, video games, robotics, 3D printing, and cyborg art. The term defines itself by the thereby created artwork, which differentiates itself from that deriving from conventional visual arts. New Media art has origins in the worlds of science, art, and performance. Some common themes found in new media art include databases, political and social activism, Afrofuturism, feminism, and identity, a ubiquitous theme found throughout is the incorporation of new technology into the work. The emphasis on medium is a defining feature of much contemporary art and many art schools and major universities now offer majors in "New Genres" or "New Media" and a growing number of graduate programs have emerged internationally. New media art may involve degrees of interaction between artwork and observer or between the artist and the public, as is the case in performance art. Yet, as several theorists and curators have noted, such forms of interaction, social exchange, participation, and transformation do not distinguish new media art but rather serve as a common ground that has parallels in other strands of contemporary art practice. Such insights emphasize the forms of cultural practice that arise concurrently with emerging technological platforms, and question the focus on technological media per se. New Media art involves complex curation and preservation practices that make collecting, installing, and exhibiting the works harder than most other mediums. Many cultural centers and museums have been established to cater to the advanced needs of new media art.
The Poietic Generator is a social-network game designed by Olivier Auber in 1986, and developed from 1987 under the label free art thanks to many contributors. The game takes place within a two-dimensional matrix in the tradition of board games and its principle is similar to both Conway's Game of Life and the surrealists' exquisite corpse.
Olivier Auber is a French independent artist and researcher. He is best known for his project "Poietic Generator" and for having introduced the concept of "Digital Perspective" in the fields of network theory, art, and digital humanities.
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