In 1977, Herbert W. Franke began to explore the relationship between cybernetics and aesthetics in digital (computer) art. Based on the perspective of cybernetics, he focused on the information in the digital image. His research was based on human short-term memory: the maximum rate at which the human brain consciously receives discrete information is about 16 bits per second. Therefore, in a short memory cycle (10s), the brain can only locate 160 bits of information. Through this principle, the author discussed the creation method of digital image and the audience's emotional feedback.
Afterward, with the development of computer technology, the discussion of cybernetics and aesthetics became more detailed. In 2002, Claudia Giannetti discussed aesthetics in the communication of 21st-century digital (computer) art based on intelligence technology, cybernetics, and information theories. She introduced several theories closely related to computer art: information aesthetics, cybernetic aesthetics, generative and participatory aesthetics, and reception aesthetics. Claudia mainly discussed the transformed functions of artists and participants. She began to involve aesthetic freedom under the interactivity.
After 2010, with the development and popularization of physiological sensing and interactive technology, digital art has developed as an interdisciplinary integration. The diversity of interactivity and technology gives art expression and cybernetic form unprecedented freedom.
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