A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, evolutionary art (...) and net art. The functions of relevant art works are explained more detailed than is usual in such histories. From October 2011 to December 2012 the chapters have been published successively in German (The English translation started in August 2013 and was completed in June 2014). (shrink)

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. (...) The functions of relevant art works are explained more detailed than usual in such histories. The second edition for the Book on Demand (Lulu Press, 2020) includes an update of chapter II.1.1 (first edition 2014). (shrink)

The core of the Conceptual artists (Mel Bochner, Sol LeWitt; the Siegelaub group with Robert Barry, Douglas Huebler, Joseph Kosuth, Lawrence Weiner; English and American members of Art and Language) is situated in the art context of the late sixties and the first half of the seventies. The self-positioning of the Conceptual artists within the art world in texts dealing with art theoretical as well as institutional problems is outlined, and selected works are interpreted.

The outline of the development of Performance Art features happenings in New York and Vienna in the sixties as well as body art and performances with closed circuits in the seventies (among others). Action Art, Environmental Theater and Intermedia are the terms defining the main characteristics of the works discussed. The research method is mainly based on Intertextuality (Mikhail Mikhailovich Bakhtin) and Systems Theory (Niklas Luhmann).