The term electronic art is almost synonymous to computer art and digital art.[1] The latter two terms, and especially the term computer-generated art are mostly used for visual artworks generated by computers. However, electronic art has a much broader connotation, referring to artworks that include any type of electronic component, such as works in music, dance, architecture and performance.[2] It is an interdisciplinary field in which artists, scientists and engineers often collaborate when creating their works. The art historian of electronic art Edward A. Shanken works to document current and past experimental art with a focus on the intersection of art, science, and technology. Other writers on the topic of electronic art include Frank Popper, Dominique Moulon, Sarah Cook, and Christiane Paul.
With the advancements in lightweight microchips, wireless capabilities, sensors and motion tracking technology,[5] new mediums in digital art and performance have become possible. Technology has the capability to augment and manipulate reality as well as audience or viewer perception. Motion tracking suits are used in creating 3D renders of animated characters for film and video games.[6] The animation or CGI produced can be edited and adjusted before viewing, but research into real time rendering for live performance art is being streamlined through the use of artificial intelligence, automation, and programing.[6] Live renders are similarly used in the metaverse to create more realistic avatar movement and expression.[7] Further implications of wearable technology include audio and music production. Laurie Anderson is a performance artist who used a suit equipped with amplified tactile sensors. She used her movements to create music, as various body parts were assigned different percussive or instrumental sounds and tones when hit or moved.[5] Similar to this musical tech is the SOMI-1 device as used in the dance performance entitled “My body is an instrument” by: Mike Tyus and Luca Renzi.[8] This piece of technology was designed by the company Instrument of Things; the SOMI-1 is a small proprioceptive disk that tracks movement and translates it into sound. [9]
Art festivals that use the term "electronic art" in their name
^ abBirringer, J. & Danjoux, M. (2009). Wearable performance, Digital Creativity, 20:1-2, 95-113, DOI: 10.1080/14626260902868095
^ abCallesen, J. & Nilsen, K. (2004). From lab to stage: practice-based research in performance, Digital Creativity, 15:1, 32-38, DOI: 10.1076/digc.15.1.32.28157
^Jang D., Yang D., Jang D., Choi B,. Jin T., Lee S. (2023). MOVIN: Real‐time Motion Capture using a Single LiDAR. Computer Graphics Forum. 2023;42(7):1-12. doi:10.1111/cgf.14961
Mark Hansen, New Philosophy for New Media, Cambridge, MA: The MIT Press, 2004
Norman M. Klein, "Spaces Between: Traveling Through Bleeds, Apertures, and Wormholes Inside the Database Novel," in Third Person: Authoring and Exploring Vast Narratives, Pat Harrigan and Noah Wardip-Fruin (eds.), Cambridge, MA: The MIT Press, 2009
Donald Kuspit "Del Atre Analogico al Arte Digital" in Arte Digital Y Videoarte, Kuspit, D. (ed.), Consorcio del Circulo de Bellas Artes, Madrid, pp. 33–34 & 3 color images
