A type of art that uses electronic media is electronic art. It applies, more generally, to technology and/or electronic media. It is associated with information art, modern media art, video art, digital art, interactive art, online art, and electronic music. It is known as an outgrowth of the practice of conceptual art and structures.
The word electronic art is practically associated with digital art and computer art. For visual artworks produced by computers, the latter two terms, particularly the term computer-generated art, are often used. Electronic art, however, has a much wider connotation, referring to works of art that contain some electronic aspects, such as musical, dance, architectural, and performance works. It is an interdisciplinary field, so artists often collaborate to create their works with scientists and engineers. Edward A. Shanken, the art historian of modern new media art, records modern and previous conceptual art, emphasizing the convergence of literature, research, and technology. Frank Popper and Dominique Moulon in France, along with simulated historians.
Electronic art has many distinct forms. Interactive dance, poetry, and even drama range from such forms. A modern class of digital art has been made possible by new technologies, especially computer systems and computer science.
Mostly, but not necessarily, computer art is interactive. Musicians use technologies such as the Internet, computing networks, robots, wearable technologies, visual painting, wireless communication, and interactive virtual reality. Electronic art faces significant problems around maintaining artwork past the time of its contemporary creation as the tools used to deliver works of electronic art become outdated. Study programs are actively ongoing to enhance the protection and recording of the precious legacy of electronic art.
Electronic media are media that use electronics to reach the material or electromechanical audience. This contrasts with static media (primarily print media), which are most commonly produced online today but do not need access to electronics in written form by the end consumer. Video images, voice recordings, interactive displays, slide presentations, and web material are the main interactive information outlets common to the public. Many new media are in interactive form. However, electronic media can be in the form of either analog electronic data or digital electronic data.
In the majority of the developing world, electronic communication is ubiquitous. Devices for mobile media have made their way into all areas of everyday life. For researching its effect relative to printed media, the word applies to media ecology and extending the reach of media comprehension beyond a simplified feature of media such as one distribution medium ( e.g., the World Wide Web) apart from many other alternatives. The concept is often applied to the advancement of technical professions concerning similar skills.
Electronic art installations are typically computer-based and mostly rely on sensors that monitor items such as temperature, motion, proximity, and other meteorological phenomena that the manufacturer has designed to evoke feedback dependent on participant behavior. Both the viewer and the computer work together in dialogue in Electronic Artworks to create truly new artwork for each audience to witness. Not all observers, however, imagine the same image. Each observer allows their own understanding of the artwork because it is immersive art, and it could be entirely different from the views of another observer.
A broad area of practice that combines multiple forms is electronic art. Some imitate video installations, particularly large-scale works involving live video capture and projections. Many interactive installations aim to create immersive experiences by utilizing projection methods that improve an audience’s sense of sensory envelopment. Others go much farther to aim to encourage a true immersion in the worlds of virtuality. In general, this construction style is site-specific, scalable, and without fixed dimensionality, which means that it can be reconfigured to accommodate various presentation spaces.
In the United States and North America, the movement has progressed to the present day of new nightclubs worldwide, due to the wildly successful big room house / EDM sound that has been introduced into U.S. pop music and the emergence of large-scale commercial raves such as Electric Daisy Carnival, Tomorrowland (festival) and Ultra Music Festival.
Due to the emergence of computer-based interactivity in the 1990s, electronic art became a major phenomenon. A new type of art experience came along with this. To create new artwork for each viewer, the audience and the computer could now collaborate more effectively in conversation. Museums and galleries started to gradually include the art form in their exhibits in the late 1990s, some even devoting entire exhibitions to it. This persists today and is further expanding thanks to improved new media contact.
As computing technology has become more available and electronic art software has evolved, it is now possible to engage with music creation technology by using means with no links to conventional musical performance traditions.
By designing custom digital synthesizers, effects kits, and diverse composition settings, musicians can now individualize their performance work. Tools that once existed strictly in the hardware realm may have virtual successors quickly.
In the last 10-15 years, a hybrid emerging discipline draws on the combined interests of particular artists. Disciplinary boundaries have blurred, and a large number of artists and interactive designers have joined electronic artists to create new, custom-designed interfaces and developments in user input techniques (such as dog vision, alternative sensors, voice analysis, etc.); forms and tools for displaying information (such as video projection, lasers, robotics, and mechatronic acts, etc.)