In the case of computer art, art and science are finally being reunited which have grown apart since the Renaissance.
The computer art situation these days seems to be analogous to the one of the Renaissance when contemporary art discourse was deeply integrated into commercial art practices.
Nowadays on computer art scene the boundary between market-driven , applied art and non-commercial projects is being blurred.
As far as computer art is concerned, this shift from confrontation to co-existence has become possible only since the computer technology came along.
Today a computer artist can easily escape from the contemporary art discourse to a strictly computer
discourse and vice versa. Therefore, I propose that we view everything we see in a computer art gallery, on the web, or in special effects movies through the eyes of technology itself, so to speak, or through the eyes of a programmer who might have created this technology no doubt that all the differences between computer art projects become hardly noticeable from a programmer's point of view. Although digital technology is the common ground on which to unify different approaches to computer art, there are no well-formulated traditions that would govern the relations between different genres within the field.
Computer art as a field is still very young. Its traditions are yet to be formulated. Although the absence of tradition might be viewed as a liberating situation, it requires a great responsibility on the part of computer art professionals. In this situation, the only answer is a
specific project &Mac246; a computer animation, a web site, a digital image, a multimedia piece. Until the traditions are formed, these specific projects are stand-alone cases which define what today&Mac226;s computer art is. I would like my work to be considered one of those cases.