Abstract
The technologies that have been most important to artists in recent times have mostly been digital. Art using digital technology was first shown in exhibitions of computer art in 1965, both in Germany and in the USA. One of the artists who showed in that year was Frieder Nake. In 1966, Billy Kluver founded Experiments in Art and Technology, E.A.T., in New York. By 1968 a small number of artists were using computers, in various ways, to produce their work. One of those was Manfred Mohr. This chapter includes reflections by Nake and Mohr as well as an interview with Kluver. Together, these provide valuable insights into the early explorations of art and modern technology. The later developments are briefly reviewed and the history of interactive art described, illustrated by a range of example works. The core chapter is followed by eight contributions on art and technology exploration since the 1960s from artists and historians.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
References
Ascott R (1966) Behaviourist art and the cybernetic vision. Cybernetica 9:247–264
Ascott R (1998) The technoetic dimension of art. In: Sommerer C, Mignonneau L (eds) Art@Science. Springer-Wien, New York, pp 279–290
ATR (Advanced Telecommunications Research Institute International) (2017) Available at: http://www.atr.co.jp/. Accessed 24 May 2017
Bann S (1972) Introduction. Systems. Arts Council, London, pp 5–14
Bense M (1971) Projects of generative aesthetics. In: Reichardt J (ed) Cybernetics, art and ideas. Studio Vista, London, pp 57–60
Boden MA, Edmonds EA (2009) What is generative art? Digital Creativity 20(1–2):21–46
Burnham, J. (1969). Real time systems. Artforum, 7, September. 49–55
Cabanne P (1971) Dialogues with Marcel Duchamp. Thames and Hudson, London
Cage J (1961) Silence. MIT Press, Cambridge, MA
Candy L, Edmonds EA (2011) Interacting: art, research and the creative practitioner. Libri Publishing Ltd., Faringdon, U.K
Cornock S, Edmonds EA (1970) The creative process where the artist is amplified or superseded by the computer. In: Proceedings of the computer graphics’ 70 conference, Brunel University, UK. (Later published in revised form in Leonardo, 16, 1973) pp 11–16
Czarnecki G (2002) http://www.ginaczarnecki.com/, http://www.artscatalyst.org/silvers-alter. Accessed 17 June 2011
Eco U (1989) The open work. Harvard University Press, Cambridge
Eno B (1996) Generative music: evolving metaphors, in my opinion, is what artists do. Available at: http://www.inmotionmagazine.com/eno1.html
Fels S, Mase K (1999) Iamascope: a graphical musical instrument. Comput Graph 23(2):277–286
Galimberti J (2015) The early years of GRAV: better Marx than Malraux. OwnReality, 13. http://www.perspectivia.net/publikationen/ownreality/13/galimberti-en. Accessed 4 July 2017
Hewett TT, Baecker R, Card S, Carey T, Gasen J, Mantei M, Perlman G, Strong G, Verplank W (1992) ACM SIGCHI curricula for human-computer interaction
Johnson A (2011) Almost tangible musical interfaces. Candy & Edmonds, pp 211–224
Jones S (2011) Synthetics: aspects of art and technology in Australia, 1956–1975. MIT Press, Cambridge MA
Kachurin P (2013) Making Modernism Soviet: the Russian avant-garde in the early soviet era, 1918-19-28. Northwestern University Press, Evanston, Illinois
Keiner M, Kurtz T, Nadin M (1994) Manfred Mohr. Waser Verlag, Zürich
Kirby M (1965) Alan Kaprow’s eat. Tulane Drama Rev 10(2):44–49
Lab for the Unstable Media (2017) Lab for the Unstable Media (Online) Available at: http://v2.nl. Accessed 24 May 2017
Lego (2017) Lego. (Online) Available at: http://www.lego.com/. Accessed 24 May 2017
Lieser W (2009) The world of digital art. Ullmann Publishing, Königswinter
Malevich KS (1968) On new systems in art. In: Anderson T (ed) Essays on art 1915–1933. Rapp and Whiting, London, pp 83–117
Metken G (1977) Yaacov Agam. Thames and Hudson, London
Mohr M (2001) Space color. Museum für Konkrete Kunst, Ingolstadt
Naumann FM, Obalk H (2000) Affectt Marcel. The selected correspondence of Marcel Duchamp. Thames and Hudson, London
NTT (1998) NTT-Inter communication centre concept book. NTT Publishing Company, Tokyo
Page (1968–1981) Bulletin on the Computer Arts Society. British Computer Society, London
Pask G (1968) The colloquy of mobiles. In: Reichardt J (ed) Cybernetic serendipity: the computer and the arts. Studio International, London, pp 34–35
Penny S (2011) Twenty years of artificial life art. Digital Creativity 21(3):197–204
Pontus Hultén KG (1968) The machine, as seen at the end of the mechanical age. The Museum of Modern Art, New York
Popper F (1983) Electra. Musée d’Art Moderne de la Ville de Paris, Paris
Prix Ars Electronica (2017) https://www.aec.at/prix/en/. Accessed 10 June 2017
Railing P (1989) From science to systems of art. Artists’ Bookworks, Forest Row, East Sussex, England
Reichardt J (ed) (1968) Cybernetic serendipity: the computer and the arts. Studio International, London
Reichardt J (1971) The computer in art. Studio Vista, London
Rickey G (1967) Constructivism: origins and evolution. G. Braziller, New York
Rosen A (2011) A little-known story about a movement, a magazine, and the computer arrival in art: new tendencies and bit International, 1961–1973. MIT Press, Cambridge
Schöffer N (1963) Three stages of dynamic sculpture. In: Habasque G, Ménétrier J (eds) Nicolas Schöffer [space, light, time]. Griffon, Neuchatel, Switzerland, pp 132–142
Schwarz H-P (1997) Media art history. Prestel-Verlag, Munich, New York and ZKM, Karlsruhe
Sims K (1992) Interactive evolution of dynamical systems. In: Towards a practice of autonomous systems: proceedings of the first European conference on artificial life, MIT Press, Cambridge MA, pp 171–178
Sims K (1998) ‘Artist’s Statement’, in ICC concept book, 2nd edn. NTT Publishing Company, Tokyo, p 61
Sommerer C, Mignonneau L (2009) Interactive art research. Springer, New York
Whitelaw M (2004) Metacreation: art and artificial life. MIT Press, Cambridge, MA
Willats S (1965) Man lives in a constantly. Control Magazine 1, p 9
Willats S (2011) http://stephenwillats.com/context/. Accessed 17 Mar 2011
Wilson S (2002) Information arts: intersections of art, science and technology. MIT Press, Cambridge, MA
Wilson S (2010) Art + science now. Thames and Hudson, New York, NY
YLEM (2017) Artists using science and technology. http://www.ylem.org/. Accessed 24 May 2017
Zhadova LA (1982) Malevich: supremitism and revolution in Russian Art 1910–1930. Thames and Hudson, New York, NY
ZKM (1997) Zentrum für Kunst und Medientechnologie: Hardware, Software, Artware. Cantz Verlag, Ostfildern
Author information
Authors and Affiliations
Corresponding author
Rights and permissions
Copyright information
© 2018 Springer-Verlag London Ltd., part of Springer Nature
About this chapter
Cite this chapter
Poltronieri, F., Candy, L., Edmonds, E. (2018). Theme: History. In: Explorations in Art and Technology. Springer Series on Cultural Computing. Springer, London. https://doi.org/10.1007/978-1-4471-7367-0_1
Download citation
DOI: https://doi.org/10.1007/978-1-4471-7367-0_1
Published:
Publisher Name: Springer, London
Print ISBN: 978-1-4471-7366-3
Online ISBN: 978-1-4471-7367-0
eBook Packages: Computer ScienceComputer Science (R0)