Digital artworks increasingly began to involve the features that we understand as characteristic of the art form today, consisting of software and installations or Internet art that is real time, interactive, process-oriented, and performative. From the 1980s to the early 2000s, digital art was predominantly understood as digital-born art that is, art created, stored, and distributed via digital technologies. While these works take the form of what seem to be more traditional drawings or films, their creators did not simply use digital technologies as a production tool but deeply engaged with the digital medium and the potential of its underlying code. In the 1960s and ’70s, digital art consisted mostly of algorithmic drawings in which the results of artist-written code were drawn on paper by pen plotters, and computer-generated films that also involved artistic use of programming languages. The definition of digital art has continuously evolved since the art form emerged. Instead, digital art might be defined as art that explores digital technologies as a medium by making use of its medium’s key features, such as its real-time, interactive, participatory, generative, and variable characteristics, or by reflecting upon the nature and impact of digital technologies.
Yet these works are not typically understood as digital art per se, since they use digital technologies as a production tool rather than a medium. Walk into any given gallery or museum today, and one will presumably encounter work that used digital technologies as a tool at some point in its production, whether videos that were filmed and edited using digital cameras and post-production software, sculptures designed using computer-aided design, or photographs as digital prints, to name just a few examples.
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