If you are interested in how art has been influenced by the computer, then this book is for you. Utilizing almost 300 examples of computer art (most in color), the author has done an amazing job of pulling together and classifying many different types of computer art. Topics ranging from Erosion to Mathematics, Computer Sculptures, and Realism were carefully selected (over 20 categories are represented). In addition to having chosen fascinating pictures, the author also includes insightful comments in a short introduction to each section. The price for the paperback copy ($29.95) seems reasonable considering the number and quality of the pictures.

That is not to say that there aren’t a few problems (albeit minor ones). The most serious flaw for this reviewer was the overly technical explanations provided in the first section of the book, which describe how the computer works and how it can be used as an artist’s tool. While this discussion might appeal to people with an affinity for technical details, it might also bother people without such a background. On the other hand, the explanations of the artistic concepts (such as perspective, shading, etc.) were clearly presented in terms that most people could readily understand.

There are other points where this reviewer would disagree with the author. For example, in his section on appreciating the art in this book the author says, “Do I like it?” and “If I like it then to me, it is art.” Certainly liking a piece of art is the most important aspect of appreciating it (as opposed to concerns such as “How relevant is it?”; “How much will it be worth?”; etc.). However, liking something does not make it a piece of art. Though I happen to like them, many people may not like Cubist pieces by Braque or Picasso, or they may think that Christo’s Running Fence was a waste of time and money. Yet these pieces are serious expressions of artistic visions which represent the artist’s perspective of some aspect(s) of society at that time. (Similarly, computer art represents an important creative aspect in our society today.) So whether or not one likes a piece of art is an important personal matter, but is not a criteria for judging it as a work of art.

Where this reviewer most emphatically agrees with the author is in his statement on p. 38 that “After taking in the whole image, we ought to explore the details. Most of the computer graphics in this book have features that are not immediately obvious. It takes some treasure hunting to discover these delightful gems.” One of the real pleasures in viewing art is to return to a favorite picture and discover something new or different about it. Perhaps it is seeing it with a different lighting effect, or finding an image not previously noticed, or sensing a mood by observing a new facial expression or body position. Whatever it is, this experience is extremely rewarding but can only be experienced if the viewer is in the appropriate frame of mind and is willing to take the time to carefully study and “feel” the work of art under consideration (another point noted by the author).

If you are looking for a carefully constructed survey of the many different types of art being produced today with the aid of computers, this is a good place to begin. Whether or not you “enjoy” all the pictures, you will certainly be intrigued by the complexity and exquisite detail that is conveyed. Though the artist must supply the creativity, this book definitely shows why the computer must be considered an important addition to the artist’s “tool kit.” Read, look, think, and look again. You’ll find the experience pleasant, fascinating, and rewarding.