II. Cybernetics II.1 Basics of Cybernetics II.1.1 Ballistics II.1.2 Stochastics II.1.3 Information II.1.4 Feedback II.1.5 Homeostasis II.2 Cybernetic Models II.2.1 Homeostat II.2.2 Memory II.2.3 Path Finding II.3 Cybernetic Sculptures II.3.1 Pioneer Works II.3.1.1 Gordon Pask´s “Musicolour System” II.3.1.2 Nicolas Schöffer´s “CYSP 1” II.3.2 “Cybernetic Serendipity” II.3.2.1 The Exhibition in London II.3.2.2 Edward Ihnatowicz´s “SAM” and “Senster” II.3.2.3 Gordon Pask´s “Colloquy of Mobiles” II.3.3 Light and Sound Installations of James Seawright and Vladimir Bonacic II.3.4 Nicolas Negroponte, the Architecture Machine Group and “Seek”
III. Information aesthetics III.1 Computer Literature III.1.1 Word Processing III.1.2 Christopher Strachey´s “Love-letters” III.1.3 Stochastic Texts III.2 Computer Graphics III.2.1 Analog Graphics III.2.2 Digital Computer Graphics
IV. Images in Motion IV.1 Video Tools IV.1.1 Video Cultures IV.1.2 Video Synthesizers IV.2 Computer Animation IV.2.1 The Development from the Sixties to the Eighties IV.2.1.1 An Outline IV.2.1.2 The Sixties IV.2.1.3 The Seventies IV.2.1.4 The Eighties IV.2.1.4.1 Film Sequences IV.2.1.4.2 Music Videos IV.2.1.4.3 Demoscene IV.2.1.4.4 The Techno-Imaginary IV.3. Evolutionary Art IV.3.1 Biomorphs IV.3.2 Evolution and Processing IV.3.3 Fractal Flames IV.3.4 Emergence
V. Reactive Installations and Virtual Reality V.1 Operations of Observers on the Interface to the Image Simulation V.2 Seamless Total Simulation versus Interface Architecture
VI. Net Art: Networks, Participation, Hypertext VI.1 Computer Networks VI.1.1 From Timesharing to the Internet VI.1.2 Participation in Networks of the Eighties VI.2 Hypertext VI.2.1 “As We May Think”: From Vannevar Bush to Ted Nelson VI.2.2 Hyperfiction for CD-ROM and the Web VI.2.3 Collaborative Writing Projects in the Web VI.3 Net Art in the Web VI.3.1 Web: Hypertext, Protocols, Browsers VI.3.2 HTML Art VI.3.3 Browser Art VI.3.4 Net Art, Context Art, and Media Activism
VII. Games VII.1 Computer and Video Games VII.1.1 Early Computer Games VII.1.2 Arcade Games and Consoles VII.1.3 First Person Shooter & Third Person View VII.1.3.1 Ego Shooter VII.1.3.2 God Games VII.2 Pervasive Games VII.2.1 Spatialization VII.2.2 Game-oriented World-Interface
VIII. Summary VIII.1 Three Modes VIII.2 Interface-Model
Table of Contents
I. Introduction
II. Cybernetics
II.1 Basics of Cybernetics
II.1.1 Ballistics
II.1.2 Stochastics
II.1.3 Information
II.1.4 Feedback
II.1.5 Homeostasis
II.2 Cybernetic Models
II.2.1 Homeostat
II.2.2 Memory
II.2.3 Path Finding
II.3 Cybernetic Sculptures
II.3.1 Pioneer Works
II.3.1.1 Gordon Pask´s “Musicolour System”
II.3.1.2 Nicolas Schöffer´s “CYSP 1”
II.3.2 “Cybernetic Serendipity”
II.3.2.1 The Exhibition in London
II.3.2.2 Edward Ihnatowicz´s “SAM” and “Senster”
II.3.2.3 Gordon Pask´s “Colloquy of Mobiles”
II.3.3 Light and Sound Installations of James Seawright and Vladimir Bonacic
II.3.4 Nicolas Negroponte, the Architecture Machine Group and “Seek”
III. Information aesthetics
III.1 Computer Literature
III.1.1 Word Processing
III.1.2 Christopher Strachey´s “Love-letters”
III.1.3 Stochastic Texts
III.2 Computer Graphics
III.2.1 Analog Graphics
III.2.2 Digital Computer Graphics
IV. Images in Motion
IV.1 Video Tools
IV.1.1 Video Cultures
IV.1.2 Video Synthesizers
IV.2 Computer Animation
IV.2.1 The Development from the Sixties to the Eighties
IV.2.1.1 An Outline
IV.2.1.2 The Sixties
IV.2.1.3 The Seventies
IV.2.1.4 The Eighties
IV.2.1.4.1 Film Sequences
IV.2.1.4.2 Music Videos
IV.2.1.4.3 Demoscene
IV.2.1.4.4 The Techno-Imaginary
IV.3. Evolutionary Art
IV.3.1 Biomorphs
IV.3.2 Evolution and Processing
IV.3.3 Fractal Flames
IV.3.4 Emergence
V. Reactive Installations and Virtual Reality
V.1 Operations of Observers on the Interface to the Image Simulation
V.2 Seamless Total Simulation versus Interface Architecture
VI. Net Art: Networks, Participation, Hypertext
VI.1 Computer Networks
VI.1.1 From Timesharing to the Internet
VI.1.2 Participation in Networks of the Eighties
VI.2 Hypertext
VI.2.1 “As We May Think”: From Vannevar Bush to Ted Nelson
VI.2.2 Hyperfiction for CD-ROM and the Web
VI.2.3 Collaborative Writing Projects in the Web
VI.3 Net Art in the Web
VI.3.1 Web: Hypertext, Protocols, Browsers
VI.3.2 HTML Art
VI.3.3 Browser Art
VI.3.4 Net Art, Context Art, and Media Activism
VII. Games
VII.1 Computer and Video Games
VII.1.1 Early Computer Games
VII.1.2 Arcade Games and Consoles
VII.1.3 First Person Shooter & Third Person View
VII.1.3.1 Ego Shooter
VII.1.3.2 God Games
VII.2 Pervasive Games
VII.2.1 Spatialization
VII.2.2 Game-oriented World-Interface
VIII. Summary
VIII.1 Three Modes
VIII.2 Interface-Model
IX. Bibliography
X. Image Sources