2001: In August/September of 2001, I drafted a call for proposals for a CAA panel on fictive art, which read as follows: "Growing numbers of artists are deliberately combining textual and visual strategies to produce works that straddle the boundary between art, fiction, and history (Kahn and Selesnick; Fontcuberta; the Hokes Archives; Codex Seraphinianus; Myst). Reflecting Elaine Scary's distinction between the made-up and the made-real, these "whole worlds" rely on a wide variety of fictive strategies and authenticating devices including the cultural authority of the photograph, the museum, the encyclopedia, scientific research, etc. Many recent fictive art projects are computer games or exploit the role-playing potential of the Internet. We invite artists to present their work in this area and critics, historians, anthropologists, and others to address such questions as: What accounts for the current explosion of this kind of work? What are its chief historical antecedents? How does fictive art manage to keep reality in view even while overstepping its bounds?"
2002: "Film as Fictive Art" : a reference on the web to a college course of this title. This appears to be a usage more in line with that employed by literary scholars; that is, film as a form of fiction.
2003: The CAA panel on Fictive Art that I co-chaired with Lise Patt included the following speakers: Lenore Malen (on the New Society for Universal Harmony); Christiane Robbins (on Blue Screen MOTO); Beauvais Lyons (on the Hokes Archives); Eva Mantell (on decorated television screens); and Griselda Pollock (on The Secret Life of Cornelia Lumsden).
2003: Maria Miranda publishes "Fictive Art in New Media," an article discussing several fictive art projects and referencing the CAA panel on Fictive Art.
2004:"Fictive Art/Imagined Spaces: Textual Constructions of Art and Architecture in Sixteenth-Century Italy" : a panel of the Renaissance Society of America. Usage unclear from context.
2004(?): a reference on the web to "Sci/fi and Electronic Art: from Fictive Art to Cybernetics to Time Travel" as part of the subject matter of a course in "Culture and Technology" at the University of Technology, Sydney. Usage unclear from context.
2004: "a fictive art gallery": describing a software-based virtual art gallery with 34 "spaces" in a scientific paper on environmental psychology. Appears to be using "fictive" as a substitute for "virtual" (i.e. unreal).
2005(?): "Fictive art may be defined as a conspiracy between artist and audience, their secret agreement to create in the world a new reality." Found at http://anbat.toonzone.net/bb/eyewitness.html in 2005; posted no earlier than 2000. Usage unclear from context, but may align with this site's usage.
2005: "precursors to fictive art in new media": title of an entry on Joan Fontcuberta in the 'fictive' archive of a blog run by Maria Miranda and Norie Neumark. This usage is similar to ours; however, Miranda and Neumark appear to use the term to focus primarily (perhaps exclusively?) on photographs that exploit the so-called truth effect, rather than to frame a larger category of practice.