PostprintThis is the accepted version of a paper published in Konsthistorisk Tidskrift. This paper has been peerreviewed but does not include the final publisher proof-corrections or journal pagination. scientists and engineers developed alongside the emerging field of computer art. This was an era when the computers, much larger than today, were rarely screen-based, and were almost impossible to gain access to unless it was through collaboration. In Sweden, the IBM employee and computing expert Sten Kallin entered into collaborations with a number of artists and scientists. In this article, I investigate his collaborations with the textile designer Astrid Sampe, the artist Sture Johannesson and the zoologist Mats Amundin. The perspective of this article differs from the more habitual focus on artistic motivations, as I instead approach these efforts from the collaborating computer experts' point of view, rather than the established artist collaborators. I argue that Kallin's interest in visualization was one of the driving forces that made him participate in these collaborations. I further suggest that their experimental approaches towards computing not only characterized the work of Kallin, but was significant to other computer art practitioners during this era.

This is the accepted version of a paper published in Digital Creativity. This paper has been peerreviewed but does not include the final publisher proof-corrections or journal pagination.

The aim of this paper is to describe and analyze collaborations between artists and engineers working together in the making of computer art in Sweden 1967−1986. The paper is based on interviews with artists and engineers who collaborated during this time. By using the theoretical concept "coconstruction," I map the phenomenon and discuss the driving forces behind the social, as well as the economical and institutional conditions of the collaborations.

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The aim of this article is to present and examine how art criticism in the Swedish daily press has dealt with video art as a new art form. The article argues that art criticism is challenged by having to deal with video art as a new art form. By paying attention to how the "identity crisis" of video art is represented in art criticism covering the four exhibitions Video/Art/Video, U-media, Japan nu/Sverige nu and Interface, as well as how the inherent properties of the printed press are used in this negotiation, this article shows that the art criticism contains a range of journalistic genres, makes use of art-historical and technological references and investigates the inherent properties of video art. The article further shows that the art criticism is primarily concerned with formal aspects of video art and that the medium specificity of the printed press is particularly salient. By comparing the specific Swedish situation with the international reception of video art as a new art form, I show that, in spite of the difference in date, they are indeed similar. Finally, by relating the reception of video art as a new art form to that of photography during the mid 19th century and digital art at beginning of the 21st century, I further show that the identity crisis of video art is similar to earlier as well as later identity crises of new technological art forms.