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Frank Popper
Frank Popper (born April 17, 1918〔(Art, action and participation by Frank Popper. National Library of Australia collection )〕) is a historian of art and technology and Professor Emeritus of Aesthetics and the Science of Art at the University of Paris VIII. He has been decorated with the medal of the Légion d'honneur by the French Government.〔(Présidence de la République )〕 He is author of the books: ''Origins and Development of Kinetic Art'', ''Art, Action, and Participation'', ''Art of the Electronic Age''〔Lieser, Wolf. ''Digital Art''. Langenscheidt: h.f. ullmann. 2009 p. 283〕 and ''From Technological to Virtual Art''.
Popper documents the historical record of the relationship between technology and participatory forms of art, especially between the late 1960s and the early 1990s.〔Christiane Paul, ''Digital Art'', Thames & Hudson Ltd. p. 219〕 Sharing his focus on art and technology are Jack Burnham (''Beyond Modern Sculpture'' 1968) and Gene Youngblood (''Expanded Cinema'' 1970). They show how art has become, in Frank Popper's terms, virtualized.〔Joseph Nechvatal, ''Frank Popper and Virtualised Art'', Tema Celeste Magazine: Winter 2004 issue #101, pp. 48–53〕
==Kinetic art==
In his books ''Origins and Development of Kinetic Art'' and ''Art, Action and Participation'', Popper showed how Kinetic Art played an important part in pioneering the unambiguous use of optical movement and in fashioning links between science, technology, art and the environment.〔Kristine Stiles & Peter Selz, ''Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings'' (Second Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, p. 450〕 Popper has been a champion of the humanizing effects of such an interdisciplinary synthesis.
Key to his initial thinking and activities as an aesthetician, cultural theorist, curator, teacher, and art critic was his encounter in the early 1950s with the kinetic artist (and author of the book ''Constructivism''), George Rickey. He subsequently encountered the artists Nicolas Schoffer and Frank Malina, whose works were based on first or second-hand scientific knowledge. Also Op Art in the early 1960s had a powerful effect on him. Indeed Op proved to be a strong predecessor to what he is calling Virtual Art in that Op Art called attention to the spectator's individual, constructive, and changing perceptions - and thus called upon the spectator to transfer the creative act increasingly upon him or herself. Op beckons forth a consideration of the enlargement of the audience's participatory role; both in regard to the perception of meaning and actual physical changes to the work of art. Popper also has had many personal encounters in Paris with Groupe de Recherche d’Art Visual, Carlos Cruz-Diez, Yaacov Agam, Jesus-Rafael Soto and Victor Vasarely which proved to have had a substantial impact on his view of art and art history.
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