John H. Connolly

Ernest A. Edmonds

Computing, despite the relative brevity of its history, has already evolved into a subject in which a fairly large number of subdisciplines can be identified. Moreover, there has been a noticeable tendency for the different branches of the subject each to develop its own intellectual culture, tradition and momentum. This is not, of course, to suggest that any individ ual subdiscipline has become a watertight compartment or that developments in one branch of the subject have tended to take place in total isolation from developments in other related areas. Nevertheless, it does mean that a deliberate effort is required in order to bring different subdisciplines together in a fruitful and beneficial manner. Artificial Intelligence (AI) and Computer Supported Coopera tive Work (CSCW) jointly constitute a good example of two branches of computing that have emerged separately and given rise to largely distinct research communities and initiatives. On the one hand, the history of AI can be traced back to the 1950s, the term II Artificial Intelligence" being generally attributed to John McCarthy, who first used it in print in 1956. "Computer Supported Cooperative Work", on the other hand, is a term of more recent coinage, having'been devised by Irene Greif and Paul Cashman in 1984.

CSCW and Artificial Intelligence

Nigel Cross

Design Thinking Research Symposium 6, ... University of Technology, Sydney, Australia, 17-19 November 2003

Expertise in Design

Margaret A. Boden

Essays on computer art and its relation to more traditional art, by a pioneering practitioner and a philosopher of artificial intelligence. In From Fingers to Digits, a practicing artist and a philosopher examine computer art and how it has been both accepted and rejected by the mainstream art world. In a series of essays, Margaret Boden, a philosopher and expert in artificial intelligence, and Ernest Edmonds, a pioneering and internationally recognized computer artist, grapple with key questions about the aesthetics of computer art. Other modern technologies—photography and film—have been accepted by critics as ways of doing art. Does the use of computers compromise computer art's aesthetic credentials in ways that the use of cameras does not? Is writing a computer program equivalent to painting with a brush? Essays by Boden identify types of computer art, describe the study of creativity in AI, and explore links between computer art and traditional views in philosophical aesthetics. Essays by Edmonds offer a practitioner's perspective, considering, among other things, how the experience of creating computer art compares to that of traditional art making. Finally, the book presents interviews in which contemporary computer artists offer a wide range of comments on the issues raised in Boden's and Edmonds's essays.

An Artificial Aesthetic

From Fingers to Digits

Roy Ascott

Linda Candy

Interacting gives a primary voice to practitioner researchers in the emerging academic discourse about creative practice and research, a voice which has been somewhat muted in debates about the nature of practitioner knowledge and the role of the artefact in knowledge creation. By creating and evaluating interactive artworks, the contributors challenge existing notions about the role of research in practice, and their accounts provide fascinating insights into the growing phenomenon of artworks shaped by the audiences who interact with them.

Art, Research and the Creative Practitioner

Interacting

Ernest A. Edmonds

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