Music is increasingly reflecting the world around us, combining the rhythms, activities, and experiences of everyday life through electronic technology. A new integration of music and life has emerged utilizing sonic materials such as sounds and words, that establish dynamic interactive processes with the public. This essay examines relevant histories in order to identify when and how this union originated. From Pierre Schaeffer to Paul Miller (a.k.a.

The author's approach to selecting digital art encompasses four major themes. The first relates to reprocessing information and the use of sampling as a means of representing the culturescape we inhabit. The second involves the emergence of interactive environments and installations. New forms of storytelling frame the third view and the final theme relates to bridging the categorical gaps, as demonstrated in computer generated multimedia work.

This article presents the ten dreams of technology that frame the author/ c urator's selection of ten new media artworks. The “dreams” or themes presented by the author have been developed and/or questioned by artists throughout the history of the intersection of art and technology. This history emerges through artworks that the author describes as containing a “compelling vitality that we must admire.” The collection of dreams includes: Symbiosis, Emergence, Immersion, World Peace, Transparency, Flows, Open Work, Other, New Art, and Hacking.

Given the task at hand, “to select new media works that have changed or are impacting the course of new media art and music,” the author, along with his colleagues, set out to identify the fullness of the digital spectrum. The article explains his selections of artwork by consciously establishing a past, present, and future media collection. He begins with a 1965 piece from Nam June Paik and ends with JODI.org, acknowledging the large jump made from past to present media.

This article identifies ten myths about Internet Art, and explains the difficulties museums and others have understanding what it means to make art for the Internet. In identifying these common misconceptions, the author offers insight on successful online works, provides inspiration to Internet artists, and explains that geographical location does not measure success when making art for the Internet. The article also mentions that the World Wide Web is only one of the many parts that make up the Internet.

This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art.