1.
Maurizio Bolognini
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Maurizio Bolognini is a post-conceptual media artist. Maurizio Bolognini was born in Brescia, Italy, before working as a media artist, he received degrees in urban planning and social sciences from the University of Birmingham, UK, and the University IUAV of Venice. He later worked extensively as a researcher in the field of structured communication techniques, in 2003 the MLAC published a monograph book on Bolognini’s work. In 2004 Artmedia organized a show which was aimed to highlight a European tendency in new media art, the show included works by Roy Ascott, Maurizio Bolognini, Fred Forest, Richard Kriesche and Mit Mitropoulos. In 1988, Bolognini began using computers to generate flows of continuously expanding random images. In the 1990s, he programmed hundreds of computers and left them to run ad infinitum. About his Programmed Machines he wrote, I do not consider myself an artist who creates certain images, I am one whose machines have actually traced more lines than anyone else, covering boundless surfaces. My installations serve to generate out-of-control infinities, the Programmed Machines series are considered among his most significant works. These Machines were exhibited in museums and art galleries, in Europe. In 2005 the Villa Croce Museum of Contemporary Art, Genoa, dedicated a retrospective, since 2000, Bolognini has concentrated on combining the Programmed Machines with communication devices, as in the Collective Intelligence Machines series. These are interactive installations connecting some of his machines to the mobile telephone network. Conceptual art Post-conceptual Generative art New Media Art Public art Systems art Electronic art Interactive art Official site for Maurizio Bolognini
2.
Conceptual art
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Conceptual art, sometimes simply called conceptualism, is art in which the concept or idea involved in the work take precedence over traditional aesthetic and material concerns. Some works of art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions. The notion that art should examine its own nature was already a potent aspect of the art critic Clement Greenbergs vision of Modern art during the 1950s. One of the first and most important things they questioned was the assumption that the role of the artist was to create special kinds of material objects. Thus, in describing or defining a work of art as conceptual it is important not to confuse what is referred to as conceptual with an artists intention. The French artist Marcel Duchamp paved the way for the conceptualists, providing them examples of prototypically conceptual works — the readymades. The artistic tradition does not see an object as art because it is not made by an artist or with any intention of being art. This concept, also called Art esthapériste, derived from the infinitesimals of Gottfried Wilhelm Leibniz - quantities which could not actually exist except conceptually, the current incarnation of the Isouian movement, Excoördism, self-defines as the art of the infinitely large and the infinitely small. In 1961 the term art, coined by the artist Henry Flynt in his article bearing the term as its title. By the mid-1970s they had produced publications, indices, performances, texts, in 1970 Conceptual Art and Conceptual Aspects, the first dedicated conceptual-art exhibition, took place at the New York Cultural Center. Conceptual art emerged as a movement during the 1960s - in part as a reaction against formalism as then articulated by the influential New York art critic Clement Greenberg. According to Greenberg Modern art followed a process of progressive reduction and those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define precisely what kind of object a painting truly is, later artists continued to share a preference for art to be self-critical, as well as a distaste for illusion. Lawrence Weiner said, Once you know about a work of mine you own it, theres no way I can climb inside somebodys head and remove it. It is sometimes reduced to a set of written instructions describing a work, Language was a central concern for the first wave of conceptual artists of the 1960s and early 1970s. This linguistic turn reinforced and legitimized the direction the artists took. Osborne also notes that the early conceptualists were the first generation of artists to complete degree-based university training in art, osborne later made the observation that contemporary art is post-conceptual in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9,2010. It is a claim made at the level of the ontology of the work of art
3.
Pascal Dombis
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Pascal Dombis is a digital artist who uses computers and algorithms to produce excessive repetition of simple processes. Dombis lives and works in Paris and he earned an engineering degree from the Insa University in Lyon. In 1987, he spent one year at Tufts University where he attended art classes at Boston Museum School and began to use computers. The fractalist show gathered various artist under this concept, such as like Miguel Chevalier, Carlos Ginzburg, Jean-Claude Meynard, Nabil Nahas, in 1993, Dombis was awarded an honorary mention from Ars Electronica in Linz and in 2003 he received a Canon digital award. Dombis is noted for his use of simple algorithmic rules. When rules are input in a process, new and unpredictable forms come to the fore and generate the unlikely. Dombis initially worked with simplistic rules, drawing a line for instance. But then he used tools to reach the wildest proliferations possible. Visual forms appear out of the enforcement of autonomous and simple rules. So Dombis does not consciously conceive a structure in advance and he lays down simple rules and lets them go through a series of interactions. Through this abuse of technological processes, Dombis tries to confront the viewer with his/her own forms of primitive irrationality. Ligne-Flux was commissioned by the French Ministry of Culture, dombiss work has been shown in numerous exhibitions around the world and is part of several public and private collections. In 2005 Dombis started to work on spam proliferations and realized several installations at Château de Linardié in Senouillac, in collaboration with the London based sound artist Thanos Chrysakis, he developed BLINK, an interactive digital video art installation based on the blinking experience. Blink was first displayed at the Slought Foundation in Philadelphia in 2006, recent exhibitions include the digital art biennial of São Paulo where he realized a monumental outdoor digital print installation of 300 square meters. His work was included in the 2008 retrospective Imaging by numbers, in 2010, Dombis realized Text~Fils, a monumental 252 meter long floor ribbon commissioned by the French Ministry of Culture for the Palais-Royal in Paris. In 2013, Dombis participated in Noise, an official show of the 55th Venice Biennale of Art. He presented Post-Digital Mirror, a large piece that follows the observer’s movements and produces organic. 92–95 Pascal Dombis website Danielle Delouche Interview with Pascal Dombis 2005
4.
Chicago
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Chicago, officially the City of Chicago, is the third-most populous city in the United States. With over 2.7 million residents, it is the most populous city in the state of Illinois, and it is the county seat of Cook County. In 2012, Chicago was listed as a global city by the Globalization and World Cities Research Network. Chicago has the third-largest gross metropolitan product in the United States—about $640 billion according to 2015 estimates, the city has one of the worlds largest and most diversified economies with no single industry employing more than 14% of the workforce. In 2016, Chicago hosted over 54 million domestic and international visitors, landmarks in the city include Millennium Park, Navy Pier, the Magnificent Mile, Art Institute of Chicago, Museum Campus, the Willis Tower, Museum of Science and Industry, and Lincoln Park Zoo. Chicagos culture includes the arts, novels, film, theater, especially improvisational comedy. Chicago also has sports teams in each of the major professional leagues. The city has many nicknames, the best-known being the Windy City, the name Chicago is derived from a French rendering of the Native American word shikaakwa, known to botanists as Allium tricoccum, from the Miami-Illinois language. The first known reference to the site of the current city of Chicago as Checagou was by Robert de LaSalle around 1679 in a memoir, henri Joutel, in his journal of 1688, noted that the wild garlic, called chicagoua, grew abundantly in the area. In the mid-18th century, the area was inhabited by a Native American tribe known as the Potawatomi, the first known non-indigenous permanent settler in Chicago was Jean Baptiste Point du Sable. Du Sable was of African and French descent and arrived in the 1780s and he is commonly known as the Founder of Chicago. In 1803, the United States Army built Fort Dearborn, which was destroyed in 1812 in the Battle of Fort Dearborn, the Ottawa, Ojibwe, and Potawatomi tribes had ceded additional land to the United States in the 1816 Treaty of St. Louis. The Potawatomi were forcibly removed from their land after the Treaty of Chicago in 1833, on August 12,1833, the Town of Chicago was organized with a population of about 200. Within seven years it grew to more than 4,000 people, on June 15,1835, the first public land sales began with Edmund Dick Taylor as U. S. The City of Chicago was incorporated on Saturday, March 4,1837, as the site of the Chicago Portage, the city became an important transportation hub between the eastern and western United States. Chicagos first railway, Galena and Chicago Union Railroad, and the Illinois, the canal allowed steamboats and sailing ships on the Great Lakes to connect to the Mississippi River. A flourishing economy brought residents from rural communities and immigrants from abroad, manufacturing and retail and finance sectors became dominant, influencing the American economy. The Chicago Board of Trade listed the first ever standardized exchange traded forward contracts and these issues also helped propel another Illinoisan, Abraham Lincoln, to the national stage
5.
Multimedia
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Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material, Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in art, for example. The term rich media is synonymous with interactive multimedia, the term multimedia was coined by singer and artist Bob Goldstein to promote the July 1966 opening of his LightWorks at LOursin show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, two years later, in 1968, the term multimedia was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldsteins producers at LOursin. In the intervening forty years, the word has taken on different meanings, in the late 1970s, the term referred to presentations consisting of multi-projector slide shows timed to an audio track. However, by the 1990s multimedia took on its current meaning, in the 1993 first edition of Multimedia, Making It Work, Tay Vaughan declared Multimedia is any combination of text, graphic art, sound, animation, and video that is delivered by computer. When you allow the user – the viewer of the project – to control what, when you provide a structure of linked elements through which the user can navigate, interactive multimedia becomes hypermedia. The German language society Gesellschaft für deutsche Sprache recognized the words significance, the institute summed up its rationale by stating has become a central word in the wonderful new media world. In common usage, multimedia refers to an electronically delivered combination of media including video, still images, audio, much of the content on the web today falls within this definition as understood by millions. That era saw also a boost in the production of educational multimedia CD-ROMs, the term video, if not used exclusively to describe motion photography, is ambiguous in multimedia terminology. Video is often used to describe the format, delivery format. Multiple forms of content are often not considered modern forms of presentation such as audio or video. Likewise, single forms of content with single methods of information processing are often called multimedia. Performing arts may also be considered multimedia considering that performers and props are multiple forms of content and media. Multimedia presentations may be viewed by person on stage, projected, transmitted, a broadcast may be a live or recorded multimedia presentation. Broadcasts and recordings can be analog or digital electronic media technology. Digital online multimedia may be downloaded or streamed, streaming multimedia may be live or on-demand
6.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
7.
Drawing
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Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. A drawing instrument releases small amount of material onto a surface, the most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything, the medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas, the wide availability of drawing instruments makes drawing one of the most common artistic activities. In addition to its artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering. A quick, freehand drawing, usually not intended as a work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, traditional drawings were monochrome, or at least had little colour, while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks, dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a medium, applied with brushes or pens. Drawing is often exploratory, with emphasis on observation, problem-solving. Drawing is also used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies, there are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as drawing, stippling, shading, the surrealist method of entopic graphomania. A quick, unrefined drawing may be called a sketch, in fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called drawings even when they have been transferred to another medium by printing. Drawing as a Form of Communication Drawing is one of the oldest forms of human expression and these drawings, known as pictograms, depicted objects and abstract concepts. The sketches and paintings produced in prehistoric times were eventually stylised and simplified, Drawing in the Arts Drawing is used to express ones creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise, initially, artists used and reused wooden tablets for the production of their drawings
8.
Sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
9.
Sound art
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Sound art is an artistic discipline in which sound is utilised as a primary medium. Like many genres of art, sound art is interdisciplinary in nature. In Western art, early examples include Luigi Russolos Intonarumori or noise intoners, and subsequent experiments by Dadaists, Surrealists, the Situationist International, and in Fluxus happenings. Because of the diversity of art, there is often debate about whether sound art falls within the domain of either the visual art or experimental music categories. The earliest documented use of the term in the U. S. is from a catalogue for a show called Sound/Art at The Sculpture Center in New York City, the show was sponsored by The SoundArt Foundation, which Hellerman founded in 1982. The conjunction of sound and image insists on the engagement of the viewer, forcing participation in space and concrete, responsive thought rather than illusionary space. Catalogue for Sound/Art at The Sculpture Center, New York City, May 1–30,1983, Noise, Water, Meat, A History of Sound in the Arts. Sound Art, Beyond Music, Between Categories, Noise, The Political Economy of Music, translated by Brian Massumi, foreword by Fredric Jameson, afterword by Susan McClary. ISBN 0-8166-1286-2 ISBN 0-8166-1287-0 Bandt, Ros, Sound Sculpture, Intersections in Sound and Sculpture in Australian Artworks. Return to Form, Christoph Cox on Neo-modernist Sound Art—Sound—Column, Sound Art and the Sonic Unconscious. Beyond Representation and Signification, Toward a Sonic Materialism, journal of Visual Culture 10, no. Audio Culture, Readings in Modern Music, toronto, YYZ Books, Banff, Walter Phillips Gallery Editions. New York, Continuum International Publishing Group, ISBN 978-0-8264-1726-8 ISBN 978-0-8264-1727-5 Kim-Cohen, Seth. In the Blink of an Ear, Toward a Non-Cochlear Sonic Art, background Noise, Perspectives on Sound Art. New York and London, The Continuum International Publishing Group, ISBN 0-8264-1844-9 ISBN 0-8264-1845-7 Lander, Dan, and Micah Lexier. ISBN 0-914162-59-4 ISBN 0-914162-60-8 Paik, Nam June, post Music Manifesto, Videa N Videology. Syracuse, New York, Everson Museum of Art, Schaefer, Janek, Bryan Biggs, Christoph Cox, and Sara-Jayne Parsons. Janek Schaefer, Sound Art, A Retrospective, haunted Weather, Music, Silence, and Memory
10.
Installation art
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Installation art is an artistic genre of three-dimensional works that often are site-specific and designed to transform the perception of a space. Generally, the term is applied to spaces, whereas exterior interventions are often called public art, land art or intervention art, however. Installation art can be temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public, many installations are site-specific in that they are designed to exist only in the space for which they were created, appealing to qualities evident in a three-dimensional immersive medium. Artistic collectives such as the Exhibition Lab at New Yorks American Museum of Natural History created environments to showcase the natural world in as realistic a medium as possible, likewise, Walt Disney Imagineering employed a similar philosophy when designing the multiple immersive spaces for Disneyland in 1955. Since its acceptance as a discipline, a number of institutions focusing on Installation art were created. These included the Mattress Factory, Pittsburgh, the Museum of Installation in London, the intention of the artist is paramount in much later installation art whose roots lie in the conceptual art of the 1960s. This again is a departure from traditional sculpture which places its focus on form, early non-Western installation art includes events staged by the Gutai group in Japan starting in 1954, which influenced American installation pioneers like Allan Kaprow. Wolf Vostell shows his installation 6 TV Dé-coll/age in 1963 at the Smolin Gallery in New York, Installation as nomenclature for a specific form of art came into use fairly recently, its first use as documented by the Oxford English Dictionary was in 1969. It was coined in this context, in reference to a form of art that had existed since prehistory but was not regarded as a discrete category until the mid-twentieth century. Allan Kaprow used the term Environment in 1958 to describe his transformed indoor spaces, out of the sensory stuff of ordinary life. In Art and Objecthood, Michael Fried derisively labels art that acknowledges the viewer as theatrical, here installation art bestows an unprecedented importance on the observers inclusion in that which he observes. Ultimately, the things a viewer can be assured of when experiencing the work are his own thoughts and preconceptions. All else may be molded by the artists hands, the central importance of the subjective point of view when experiencing installation art, points toward a disregard for traditional Platonic image theory. In effect, the entire installation adopts the character of the simulacrum or flawed statue, Installation art operates fully within the realm of sensory perception, in a sense installing the viewer into an artificial system with an appeal to his subjective perception as its ultimate goal. Interactive installation is a sub-category of installation art, an interactive installation frequently involves the audience acting on the work of art or the piece responding to users activity. With the improvement of technology over the years, artists are able to explore outside of the boundaries that were never able to be explored by artists in the past. The media used are more experimental and bold, they are also usually cross media and may involve sensors, by using virtual reality as a medium, immersive virtual reality art is probably the most deeply interactive form of art
11.
Virtual reality
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VR also simulates a users physical presence in this environment. A person using virtual reality equipment is able to look around the world, and with high quality VR move about in it. Virtual reality is displayed with a virtual reality headset, VR headsets are head-mounted goggles with a screen in front of the eyes. Programs may include audio and sounds through speakers or headphones, advanced haptic systems may include tactile information, generally known as force feedback in medical, video gaming and military training applications. Some VR systems used in games can transmit vibrations and other sensations to the user through the game controller. Virtual reality also refers to remote communication environments which provide a presence of users with through telepresence and telexistence or the use of a virtual artifact. The immersive environment can be similar to the world in order to create a life-like experience grounded in reality or sci-fi. In 1938, Antonin Artaud described the nature of characters and objects in the theatre as la réalité virtuelle in a collection of essays. The English translation of book, published in 1958 as The Theater. The term artificial reality, coined by Myron Krueger, has been in use since the 1970s, the term virtual reality was used in The Judas Mandala, a 1982 science fiction novel by Damien Broderick. Virtual has had the meaning being something in essence or effect, the term virtual has been used in the computer sense of not physically existing but made to appear by software since 1959. A dictionary definition for cyberspace states that word is a synonym for virtual reality. Virtual reality shares some elements with augmented reality, AR is a type of virtual reality technology that blends what the user sees in their real surroundings with digital content generated by computer software. The additional software-generated images with the virtual scene typically enhance way the real look in some way. Some AR systems use a camera to capture the surroundings or some type of display screen which the user looks at. The Virtual Reality Modelling Language, first introduced in 1994, was intended for the development of worlds without dependency on headsets. The Web3D consortium was founded in 1997 for the development of industry standards for web-based 3D graphics. The consortium subsequently developed X3D from the VRML framework as an archival and these components led to relative affordability for independent VR developers, and lead to the 2012 Oculus Rift kickstarter offering the first independently developed VR headset
Media related to Digital art at Wikimedia Commons
