Editing Interactive art (section)

==History==
According to the new media artist and theorist {{Citation needed|date=March 2015}} [[Maurice Benayoun]], the first piece of interactive art should be the work done by [[Parrhasius (painter)|Parrhasius]] during his art contest with [[Zeuxis (painter)|Zeuxis]] described by [[Pliny the Elder|Pliny]], in the fifth century B.C. when Zeuxis tried to unveil the painted curtain. The work takes its meaning from Zeuxis' gesture and wouldn't exist without it. Zeuxis, by its gesture, became part of Parrhasius' work. This shows that the specificity of interactive art resides often less in the use of computers than in the quality of proposed "situations" and the "Other's" involvement in the process of [[sensemaking]]. Nevertheless, computers and real time computing made the task easier and opened the field of virtuality – the potential emergence of unexpected (although possibly pre-written) futures – to contemporary arts.

Some of the earliest examples of interactive art were created as early as the 1920s.  An example is [[Marcel Duchamp]]’s piece named ''Rotary Glass Plates''.  The artwork required the viewer to turn on the machine and stand at a distance of one meter in order to see an optical illusion.<ref>Paul, C: ''Digital Art'', page 11. Thames & Hudson Inc, 2003.</ref>

The present idea of interactive art began to flourish more in the 1960s for partly political reasons.  At the time, many people found it inappropriate for artists to carry the only creative power within their works.{{Citation needed|date=December 2022}}  Those artists who held this view wanted to give the audience their own part of this creative process.  An early example is found in the early 1960s "change-paintings" of [[Roy Ascott]], about whom [[Frank Popper]] has written: "Ascott was among the first artists to launch an appeal for total spectator participation".<ref>Popper, Frank (2007). From Technological to Virtual Art. Cambridge, MA: MIT Press. p. 77. {{ISBN|978-0-262-16230-2}}</ref>  Aside from the “political” view, it was also current wisdom that interaction and engagement had a positive part to play within the creative process.<ref>Edmonds, E, Muller, L, Connel, M: "On creative engagement", ''Visual Communication'', 5(307):3</ref>

In the 1970s, artists began to use new technology such as [[video]] and [[satellite]]s to experiment with live performances and interactions through the direct broadcast of video and audio.<ref>Paul, C: ''Digital Art'', page 18. Thames & Hudson Inc, 2003.</ref> At this time, [[Gordon Pask]] came up with the "Conversation theory". This theory emphasizes the dynamic exchange of information between participants in a system. As a two-way dialogue, this concept of a conversation between the user and the system has shaped artists' thinking about interactivity.<ref>Rosen M., "Gordon Pask's Cybernetic System: Conversations After the End of the Mechanical Age" in Samuel Bianchini and Erik Verhagen, ''Practicable : from participation to interaction in contemporary art'', MIT Press, 2016, pp.25-38.</ref> 

Interactive art became a large phenomenon due to the advent of computer-based interactivity in the 1990s. Along with this came a new kind of art-experience.  Audience and machine were now able to more easily work together in dialogue in order to produce a unique artwork for each audience.<ref name="ReferenceA"/>  In the late 1990s, [[museum]]s and galleries began increasingly incorporating the art form in their shows, some even dedicating entire [[exhibition]]s to it.<ref>Paul, C: ''Digital Art'', page 23. Thames & Hudson Inc, 2003.</ref>  This continues today and is only expanding due to increased communications through digital media.

[[File:10.000 Moving Cities, Augmented Reality Multiplayer Game.png|thumb|right|10.000 Moving Cities (2018), [[Marc Lee]], Augmented Reality Multiplayer Game, Art Installation<ref>{{cite web|title=10.000 Moving Cities – Same but Different, AR (Augmented Reality) Multiplayer Game, Art Installation, 2018|publisher = Marc Lee|url=http://marclee.io/en/10-000-moving-cities-same-but-different-ar/|access-date=2018-12-26}}</ref> using [[smartphone]]s]]
A hybrid emerging discipline drawing on the combined interests of specific artists and architects has been created in the last 10–15 years.{{when|date=September 2022}} Disciplinary boundaries have blurred, and significant number of architects and interactive designers have joined electronic artists in the creation of new, custom-designed interfaces and evolutions in techniques for obtaining user input (such as dog vision, alternative sensors, [[voice analysis]], etc.); forms and tools for information display (such as [[Video projector|video projection]], [[laser]]s, [[Robotics|robotic]] and [[Mechatronics|mechatronic]] [[actuator]]s, led lighting etc.); modes for human-human and human-machine communication (through the [[Internet]] and other [[telecommunications network]]s); and to the development of social contexts for interactive systems (such as utilitarian tools, formal experiments, games and entertainment, social critique, and political liberation).