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Intro; Foreword to the Second Edition; Foreword to the First Edition; Preface to the Second Edition; Preface to the First Edition; A Note of Thanks First Edition; Contents; Authors and Contributors; History; 1 Theme: History; Introduction; Personal Recollections of a Distant Beginning, by Frieder Nake; E.A.T. An Interview with Billy Kluver7 by Garnet Hertz8; Systems into Art; Generative Art by Manfred Mohr; The Growth of Art and Technology; Interactive Art; Interaction and the Art System; Early Interactive Art; The Growth of Interactive Art; Fostering Art and Technology Through Research
Of Different Physiology and in Varying LocationsStimbod; Extreme Absence and the Experience of the Alien; Parasite: Event for Invaded and Involuntary Body; Exoskeleton; Hexapod; Movatar: An Inverse Motion Capture System; Extra Ear; Where Next?; Acknowledgements; 6 Tears in the Connective Tissue; References; 7 Algorithmic Fine Art: Composing a Visual Arts Score; A New Frontier; Algorithmic Form Generators; The Work; Content and Meaning; Creativity and Cognition, Loughborough; Reflections: From the 20th into the 21st Century; References; 8 The Computer: An Intrusive Influence; Residencies
ReflectionsReferences; 9 Digital Art in Brazil; Contemporary Curatorship: Archive and Database; Livro-Acervo; Arquivo Vivo [Living Archive]; Environments; 10 Theme: Environments; Introduction; The Nature of Environments; Co-evolution in Environments; Technology Environments: The Creativity & Cognition Studios Case; Technology Opportunities and Constraints; Instructing the Computer; Interactive Art; Art Practice and Technology Environments; Digital Technology and Thinking; Digital Technology and Making; Making Electronic Marks; Controlling the Technology; Moving Technology Forward
Re-Conceptualizing TechnologyEnvironments for Building Environments; Flexibility and Exploration; Responsive Strategies; Studio and Living Laboratories; References; 11 New Directions for Art and Technology; Participants; Practice; Technology; Collaboration; Directions for the Future; Conclusions; References; 12 An Observer's Reflections: The Artist Considered as Expert; On Being an Observer; Expertise and the General Characteristics of Experts; External Representations, Knowledge, and Knowledge Development; Extracts from the COSTART Case Studies
Of Different Physiology and in Varying LocationsStimbod; Extreme Absence and the Experience of the Alien; Parasite: Event for Invaded and Involuntary Body; Exoskeleton; Hexapod; Movatar: An Inverse Motion Capture System; Extra Ear; Where Next?; Acknowledgements; 6 Tears in the Connective Tissue; References; 7 Algorithmic Fine Art: Composing a Visual Arts Score; A New Frontier; Algorithmic Form Generators; The Work; Content and Meaning; Creativity and Cognition, Loughborough; Reflections: From the 20th into the 21st Century; References; 8 The Computer: An Intrusive Influence; Residencies
ReflectionsReferences; 9 Digital Art in Brazil; Contemporary Curatorship: Archive and Database; Livro-Acervo; Arquivo Vivo [Living Archive]; Environments; 10 Theme: Environments; Introduction; The Nature of Environments; Co-evolution in Environments; Technology Environments: The Creativity & Cognition Studios Case; Technology Opportunities and Constraints; Instructing the Computer; Interactive Art; Art Practice and Technology Environments; Digital Technology and Thinking; Digital Technology and Making; Making Electronic Marks; Controlling the Technology; Moving Technology Forward
Re-Conceptualizing TechnologyEnvironments for Building Environments; Flexibility and Exploration; Responsive Strategies; Studio and Living Laboratories; References; 11 New Directions for Art and Technology; Participants; Practice; Technology; Collaboration; Directions for the Future; Conclusions; References; 12 An Observer's Reflections: The Artist Considered as Expert; On Being an Observer; Expertise and the General Characteristics of Experts; External Representations, Knowledge, and Knowledge Development; Extracts from the COSTART Case Studies