Information art

Information art, which is also known as informatism or data art, is an art form that is inspired by and principally incorporates data, computer science, information technology, artificial intelligence, and related data-driven fields. The information revolution has resulted in over-abundant data that are critical in a wide range of areas, from the Internet to healthcare systems. Related to conceptual art, electronic art and new media art, informatism considers this new technological, economical, and cultural paradigm shift, such that artworks may provide social commentaries, synthesize multiple disciplines, and develop new aesthetics.^[1] Realization of information art often take, although not necessarily, interdisciplinary and multidisciplinary approaches incorporating visual, audio, data analysis, performance, and others.^[2] Furthermore, physical and virtual installations involving informatism often provide human-computer interaction that generate artistic contents based on the processing of large amounts of data.^[3]

^ Wilson, Stephen (2003). Information arts : intersections of art, science and technology. The MIT Press. ISBN 9780262731584. OCLC 813857815.
^ Edward A. Shanken has argued that little scholarship has explored the relationship between technology and conceptual art. He also claimed that there was an art-historical impetus to artificially distinguish information art from conceptual art. Edward A. Shanken, 'Art in the Information Age: Technology and Conceptual Art,' in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice Cambridge: Cambridge University Press, 2004.
^ See Charlie Gere Art, Time and Technology: Histories of the Disappearing Body (Berg, 2005). ISBN 978-1-84520-135-7 This text concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-François Lyotard and André Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Kasimir Malevich, among others.

[1] Wilson, Stephen (2003). Information arts : intersections of art, science and technology. The MIT Press. ISBN 9780262731584. OCLC 813857815.

[2] Edward A. Shanken has argued that little scholarship has explored the relationship between technology and conceptual art. He also claimed that there was an art-historical impetus to artificially distinguish information art from conceptual art. Edward A. Shanken, 'Art in the Information Age: Technology and Conceptual Art,' in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice Cambridge: Cambridge University Press, 2004.

[3] See Charlie Gere Art, Time and Technology: Histories of the Disappearing Body (Berg, 2005). ISBN 978-1-84520-135-7 This text concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-François Lyotard and André Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Kasimir Malevich, among others.

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