Key quotes

1 What does it mean for a work of computer art to be "interactive"? The mere use of a computer to produce the artwork, for example, to create an image, edit a video, or design a sculpture, is not sufficient. Very generally, for a work to be interactive, the following events must occur in real-time: 1. A sensing or input device translates certain aspects of a person's behavior into digital form that a computer can understand. 2. The computer outputs data that are systematically related to the input (i.e., the input affects the output). 3. The output data are translated back into real-world phenomena that people can perceive.
by David Z. Saltz, The Journal of Aesthetics and Art Criticism, Vol.55, No. 2, Perspectives on the Arts and Technology. (Spring, 1997), pp118

2 They disagree with people who think that if one person creates the work entirely by himself or herself, that work is the purest and most perfect, because it's undiluted by outside inspiration or interference.
by Jeffrey Rona & Chris Meyer, CyberArts: exploring art & technology, Miller Freeman Inc., 1992, pp33

3 Digital systems are increasingly significant in modern technology-based art. Artists are putting considerable effort into the specification and construction of interactive experiences of many types.
by Linda Candy, Co-creativity in Interactive Digital Art, 2002, pp2

4 The potential of the new technologies is toward interaction and communication - the kind of inclusivity which encourages global exchange throughwhich fresh insights can evolve through experimentation with diversity and difference. When the technology of film was developed, Walter Benjamin wrote that it had the effect, similar to the Internet, of assuring us of an "immense and unexpected field of action."
by Margot Lovejoy, Postmodern Currents : Art and Artists in the Age of Electronic Media, Upper Saddle River, 1997, pp228

5 An urban art event employing image projection engages with this dimension of advertised nonlocality in the global economic environment, whether it wants to or not. Consciously or not, it will embed decisions about how it can or will deal with that engagement in the very form of the platform it designs for itself, the performance envelope it actuates and the documentary follow-up tactics it adopts.
by Rafael Lozano-Hemmer & Brian Massumi, Making Art of Databases, V2_Publishing/ NAi Publishers, 2003, pp37