To avoid misinterpretation, the term “art-and-technology” should be hyphenated because we are looking at an integrated art form which developed, roughly, during the past 70 years (since Naum Gabo's virtual volume, Kinetic Construction, Berlin, 1920). Art-and-technology results from “incorporated” contributions of art, science, and technology or, better, from artists, scientists, and engineers (plus industry, business, government, etc.). Although art-and-technology has frequently been bad-mouthed or even pronouned “dead” by advocates and practitioners of pure art as well as science and technology, it is alive and well and enjoying more vitality, variety, and expansion than ever before. It is currently the only expanding field in the arts; it feeds vitally into technology and industry—most visibly in entertainment but it also provides stimulus beyond fun to areas of science and engineering where “art applications” have abounded since the advent of photography and its vast consequent uses in science.

We can claim an eloquent tradition for art-and-technology in ancient historic, cultural manifestations such as the Egyptian pyramids and their “environmental” scale or the Greek theater with its elaborate stage machines. We are aware of elements of that tradition when we observe contemporary art-and-technology such as sky and space art (Figures 1 and 2), computer-generated virtual reality, performance with medical inquiry and medical apparatus, and art concepts inspired by molecular biology (Figure 3). Emphasis of search—whether artistic/expressive, conceptual/philosophical, or inquisitive/scientific—depends on taste and motivation. However, Leonardo is an undisputed idol to both artists and scientists.