More recently, photography, cinema, electric machines, lights, radio, recording technology, and video were considered high technology. Now, however, when people talk about high-tech arts, they are not talking about these technologies. Technological art is a moving target. The artistic gesture to move into an area of emerging technology that is radical in one era can end up being unnoteworthy a few years later. It takes an act of artistic vision and bravery to decide to work with techniques, tools, and concepts from a still raw area of technology not yet accepted as a valid area for the arts. It is a challenge to work with a medium before anyone defines it as a medium. Yet several years later, when the technology has matured and a body of artistic work and commentary has appeared, the choice does not have the same meaning. At the early stages of an emerging technology, the power of artistic work derives in part from the cultural act of claiming it for creative production and cultural commentary. In this regard, the early history of computer graphics and animation in some ways mimics the early history of photography and cinema.

Information Arts generally focuses on art that addresses research activity emerging in the last seven years. I did not extensively consider video art, kinetic and light sculpture, sound art, electronic music, laser art, and holography. Although there continues to be experimental work in these fields, they are not currently considered emerging technologies, and they have well-developed aesthetic and analytic traditions of their own. Information Arts does not consider the popular media of science fiction, literature, cinema, and television, which offer interesting arenas of mutual influence between science and art..

Because of the accelerated pace of technological innovation, even newer technologies are rapidly passing into the stage of institutionalization. Fields such as computer graphics, computer animation, 3-D modeling, digital video, interactive multimedia, and Web art, which were revolutionary a few years ago, have become part of the mainstream. Enormous amounts of work are being produced, the variety of aesthetic rationales has multiplied, and the technologies have been integrated into commercial software and media production. Artistic experimentation is quickly being assimilated. For example, computer graphic visual effects that represented innovative artistic exploration a few years ago are now part of the standard Photoshop filters available to the millions who own the software. Computer animations in 3-D and effects that were known only by a few media experimenters are now becoming standard features of movies and commercials. Interactive computer events that were of interest only to experimental artists fifteen years ago are now part of fields such as computer-assisted education and games. In one of the most remarkably speedy transformations, Web art experiments are devoured by the steamrolling commercial and media expansion of the World Wide Web almost as soon as they are invented.

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