In A Philosophy of Computer Art Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’.

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.

"This book is as much about painting as it is about the digital world. But beyond both it's really about visual intelligence. What makes it a joy to read is the lovely match between Faure Walker's subject and his style of writing: apparently artless, just making itself up as it goes along, but actually always with a witty spring, and never slack." -- MATTHEW COLLINGS, artist, critic, author, and television host "As a painter himself, James Faure Walker opens up a provocative dialogue between painting and digital computing that is essential reading for all painters interested in new technologies." -- IRVING SANDLER, author, critic, and art historian "Faure Walker has a distinguished background as both a painter and digital artist. He is an early adopter of digital technology in this regard, so has lived the history of the ever-accelerating embrace of the digital. On top of this, he is a good storyteller and a clear writer who avoids the pitfalls of pretentious art-world jargon." -- LANE HALL, digital artist and professor "Using a wide stream of fresh water as a metaphor, Faure Walker depicts a flow of ideas, concepts, and solutions that result in digital art. All the core elements of an art-style-in-making are here: ties with mainstream and traditional art, stages of technological progress, and reflections on the bright and varied personalities of digital artists. With a personal approach, Faure Walker presents vibrant, exciting, emotionally overpowering art works and describes them with empathy and imagination. This entertaining, sensitive, and observant book itself flows like a river." -- ANNA URSYN, digital artist and professor "Something like this book is overdue. I am not aware of any comparable work. Lots of 'how to do,' but nothing raising so many interesting and critical questions." -- HANS DEHLINGER, digital artist and professor "Here is the intimate narrative of a passionate yet skeptical explorer who unflinchingly records his artistic discoveries and personal reflections. Faure Walker's decades of experience as a practicing painter, art critic, and educator shine through on every page. The book is an essential resource for anyone interested in digital visual culture." -- ANNE MORGAN SPALTER, digital artist, author, and visual computing researcher This book is about art, written from an artist's point of view. It also is about computers, written from the perspective of a painter who uses them. Painting the Digital River is James Faure Walker's personal odyssey from the traditional art scene to fresh horizons, from hand to digital painting--and sometimes back again. It is a literate and witty attempt to make sense of the introduction of computer tools into the creation of art, to understand the issues and the fuss, to appreciate the people involved and the work they produce, to know the promise of the new media, as well as the risks. Following his own winding path, Faure Walker tells of learning to paint with the computer, of misunderstandings across the art and science divide, of software limitations, of conversations between the mainstream and digital art worlds, of emerging genres of digital painting, of the medieval digital, of a different role for drawing. As a painter and computer enthusiast, the author recognizes the marvels of digital paint as well as anyone. But he also challenges the assumption that digital somehow means different. The questions he raises matter to artists of every background, style, and disposition, and the answers should reward anyone seeking insight into contemporary art.

Ten years have passed since the first edition of this book, a time sary to stress that the availability of colors further assists artistic span during which all activities connected with computers have ambitions. experienced an enormous upswing, due in particular to the ad The dynamics of display which can be achieved on the screen is vances in the field of semiconductor electronics which facilitated also of significance for the visual arts. It is a necessary condition microminiaturization. With the circuit elements becoming small for some technical applications, for example when simulating er and smaller, i. e. the transition to integrated circuits, the price dynamic processes. Although the graphics systems operating in real time were not designed for artistic purposes, they nonethe of hardware was reduced to an amazingly low level: this has de less open the most exciting aspects to the visual arts. While the finitely been an impulse of great importance to the expansion of computer technology, as well as to areas far removed from tech static computer picture was still a realization in line with the nology.

3D art is in a transformative moment. This dynamic art movement is enabled by new tools and limited only by the imagination of its creators. Artists working in CG art today are unfettered by curators and gatekeepers, making their case directly to the public, largely on social media platforms such as Instagram. Organized in 3 sections, People, Places and Things, Computer Generated dives into this movement to showcase a cross-section of work from some of its most dynamic artists such as Andreas Wannerstedt, Antoni Tudisco, Roger Kilimanjaro, David McLeod, Alexis Christodoulou, Josh Pierce and Alexy Préfontaine. This collection aims to define a new art movement, serve as a resource for the digital art community, and inspire a new generation of CG artists.