Abstract
Practice-based research and actual collaborative projects between artists and scientists have shown that knowledge about each other's fields, whilst necessary for identifying probable outcomes of mutual benefit, cannot anticipate the emergence of the possible – does knowledge in the form of written papers or experiential artworks emerge from loose collaborations or the highly specified kind? Case studies from early 1970s video through to contemporary digital projects examine collaborations between artists, scientists and technologists and the involvement of audiences with interactive media art that will, between respondent and correspondent, create human computer interaction of a different order, a new aesthetics of interdisciplinary spaces.
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