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.
Joseph Nechvatal
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Joseph James Nechvatal is a post-conceptual digital artist and art theoretician who creates computer-assisted paintings and computer animations, often using custom-created computer viruses. Joseph Nechvatal was born in Chicago, from 1979, he exhibited his work in New York City, primarily at Galerie Richard, Brooke Alexander Gallery and Universal Concepts Unlimited. He has also exhibited in Berlin, Paris, Chicago, Cologne, Atlanta, Los Angeles, Aalst, Belgium, Youngstown, Senouillac, Lund, Toulouse, Turin. His work in the early 1980s chiefly consisted of postminimalist gray graphite drawings that were often photomechanically enlarged, during that period he was associated with the artist group Colab and helped establish the non-profit cultural space ABC No Rio. In 1983 he co-founded the avant-garde electronic art music audio project Tellus Audio Cassette Magazine, in 1984, Nechvatal began work on an opera called XS, The Opera Opus with the no wave musical composer Rhys Chatham. He began using computers to make paintings in 1986 and later, in his signature work and these collaborations with viral systems positioned his work as an early contribution to what is increasingly referred to as a post-human aesthetic. He exhibited at Documenta 8 in 1987, there he developed his concept of viractualism, a conceptual art idea that strives to create an interface between the biological and the technological. According to Nechvatal, this is a new topological space, in 2005 he exhibited Computer Virus Project II works in a solo show called cOntaminatiOns at Château de Linardié in Senouillac, France. In 2006 Nechvatal received an exhibition entitled Contaminations at the Butler Institute of American Arts Beecher Center for Arts. Dr. viral symphOny was presented as a part of nOise anusmOs in New York in 2012, in 2016, a limited edition CD recording of his sex farce poetry book Destroyer of Naivetés was released on Entr’acte label under the name of Cave Bacchus. Cave Bacchus is Nechvatal, Black Sifichi and Rhys Chatham, in 2013, Nechvatal showed work in Noise, an official collateral show of the 55th Venice Biennale of Art, that was based on his book Immersion Into Noise. From 1999 to 2013, Nechvatal taught art theories of immersive virtual reality, a book of his collected essays entitled Towards an Immersive Intelligence, Essays on the Work of Art in the Age of Computer Technology and Virtual Reality was published by Edgewise Press in 2009. Also in 2009, his book Immersive Ideals / Critical Distances was published, in 2011, his book Immersion Into Noise was published by Open Humanities Press in conjunction with the University of Michigan Librarys Scholarly Publishing Office. Since 2013, Nechvatal has regularly been publishing his art criticism as the Paris correspondent for Hyperallergic blogazine, joe Lewis wrote, Viractualism is an art theory term developed by Nechvatal in 1999. The term viractualism emerged from the Ph. D, there he developed his concept of the viractual, which strives to create an interface between the biological and the virtual. It is central to Nechvatal’s work as an artist, - a concept close to what the military call augmented reality, which is the use of transparent displays worn as see-through glasses on which computer data is projected and layered. This amalgamate - which tends to some central techno clichés of our time - is what Nechvatal calls the viractual. Digitization is a key metaphor for viractuality in the sense that it is the elementary translating procedure today, Nechvatal thinks that in every era the attempt must be made anew to wrest the art practice away from conformisms that are about to overcome it
5.
Cave automatic virtual environment
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A cave automatic virtual environment is an immersive virtual reality environment where projectors are directed to between three and six of the walls of a room-sized cube. The name is also a reference to the allegory of the Cave in Platos Republic in which a philosopher contemplates perception, reality, a CAVE is typically a video theater situated within a larger room. The walls of a CAVE are typically made up of rear-projection screens, the floor can be a downward-projection screen, a bottom projected screen or a flat panel display. The projection systems are very high-resolution due to the near distance viewing which requires very small pixel sizes to retain the illusion of reality, the user wears 3D glasses inside the CAVE to see 3D graphics generated by the CAVE. People using the CAVE can see objects apparently floating in the air and this was initially made possible by electromagnetic sensors, but has converted to infrared cameras. A CAVE users movements are tracked by the sensors typically attached to the 3D glasses, computers control both this aspect of the CAVE and the audio aspect. There are typically multiple speakers placed at angles in the CAVE. A lifelike visual display is created by projectors positioned outside the CAVE, a motion capture system records the real time position of the user. Stereoscopic LCD shutter glasses convey a 3D image, the computers rapidly generate a pair of images, one for each of the users eyes, based on the motion capture data. The glasses are synchronized with the projectors so that each eye sees the correct image. Since the projectors are positioned outside the cube, mirrors are used to reduce the distance required from the projectors to the screens. One or more computers drive the projectors, clusters of desktop PCs are popular to run CAVEs, because they cost less and run faster. Software and libraries designed specifically for CAVE applications are available, there are several techniques for rendering the scene. There are 3 popular scene graphs in use today, OpenSG, OpenSceneGraph, OpenSG and OpenSceneGraph are open source, while OpenGL Performer is free, its source code is not included. CAVELib is the original application programmers interface developed for the CAVE system created at the Electronic Visualization Lab at University of Illinois Chicago, the software was commercialized in 1996 and further enhanced by Mechdyne Corporation. Developers create all of the graphics for their environment and the CAVELib makes it display properly, the CAVELib API is platform-independent, enabling developers to create high-end virtual reality applications on Windows and Linux operating systems. CAVELib-based applications are externally configurable at run-time, making an application independent of the display system. Mechdynes Conduit is a software package that makes a small number of existing 3D OpenGL application work directly in a CAVE
6.
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
7.
Digital electronics
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Digital electronics or digital circuits are electronics that handle digital signals rather than by continuous ranges as used in analog electronics. All levels within a band of values represent the information state. In most cases, the number of states is two, and they are represented by two voltage bands, one near a reference value, and the other a value near the supply voltage. These correspond to the false and true values of the Boolean domain respectively, Digital techniques are useful because it is easier to get an electronic device to switch into one of a number of known states than to accurately reproduce a continuous range of values. Digital electronic circuits are made from large assemblies of logic gates. The binary number system was refined by Gottfried Wilhelm Leibniz and he established that by using the binary system. Digital logic as we know it was the brain-child of George Boole, Boole died young, but his ideas lived on. In an 1886 letter, Charles Sanders Peirce described how logical operations could be carried out by electrical switching circuits, eventually, vacuum tubes replaced relays for logic operations. Lee De Forests modification, in 1907, of the Fleming valve can be used as an AND logic gate, ludwig Wittgenstein introduced a version of the 16-row truth table as proposition 5.101 of Tractatus Logico-Philosophicus. Walther Bothe, inventor of the circuit, got part of the 1954 Nobel Prize in physics. Mechanical analog computers started appearing in the first century and were used in the medieval era for astronomical calculations. In World War II, mechanical computers were used for specialized military applications such as calculating torpedo aiming. During this time the first electronic computers were developed. Originally they were the size of a room, consuming as much power as several hundred modern personal computers. The Z3 was a computer designed by Konrad Zuse, finished in 1941. It was the worlds first working programmable, fully automatic digital computer and its operation was facilitated by the invention of the vacuum tube in 1904 by John Ambrose Fleming. Purely electronic circuit elements soon replaced their mechanical and electromechanical equivalents, the bipolar junction transistor was invented in 1947. From 1955 onwards transistors replaced vacuum tubes in computer designs, giving rise to the generation of computers
8.
Computer art
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Computer art is any art in which computers play a role in production or display of the artwork. Such art can be an image, sound, animation, video, CD-ROM, DVD-ROM, video game, website, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, for instance, an artist may combine traditional painting with algorithm art and other digital techniques. As a result, defining computer art by its end product can thus be difficult, Computer art is by its nature evolutionary since changes in technology and software directly affect what is possible. Notable artists in this vein include Manfred Mohr, Ronald Davis, Harold Cohen, Joseph Nechvatal, George Grie, Olga Kisseleva, John Lansdown, and Jean-Pierre Hébert. On the title page of the magazine Computers and Automation, January 1963, Edmund Berkeley published a picture by Efraim Arazi from 1962 and this picture inspired him to initiate the first Computer Art Contest in 1963. The annual contest was a key point in the development of art up to the year 1973. The precursor of computer art dates back to 1956-1958, with the generation of what is probably the first image of a human being on a computer screen, a pin-up girl at a SAGE air defense installation. Desmond Paul Henry invented the Henry Drawing Machine in 1960, his work was shown at the Reid Gallery in London in 1962, many artists tentatively began to explore the emerging computing technology for use as a creative tool. In the summer of 1962, A. Michael Noll programmed a computer at Bell Telephone Laboratories in Murray Hill. His later computer-generated patterns simulated paintings by Piet Mondrian and Bridget Riley, Noll also used the patterns to investigate aesthetic preferences in the mid-1960s. The Stuttgart exhibit featured work by Georg Nees, the New York exhibit featured works by Bela Julesz, a third exhibition was put up in November 1965 at Galerie Wendelin Niedlich in Stuttgart, Germany, showing works by Frieder Nake and Georg Nees. Analogue computer art by Maughan Mason along with computer art by Noll were exhibited at the AFIPS Fall Joint Computer Conference in Las Vegas toward the end of 1965. In 1968, the Institute of Contemporary Arts in London hosted one of the most influential exhibitions of computer art called Cybernetic Serendipity. The exhibition included many of whom often regarded as the first digital artists, Nam June Paik, Frieder Nake, Leslie Mezei, Georg Nees, A. Michael Noll, John Whitney, one year later, the Computer Arts Society was founded, also in London. At the time of the opening of Cybernetic Serendipity, in August 1968 and it took up the European artists movement of New Tendencies that had led to three exhibitions in Zagreb of concrete, kinetic, and constructive art as well as op art and conceptual art. New Tendencies changed its name to Tendencies and continued with more symposia, exhibitions, a competition, katherine Nash and Richard Williams published Computer Program for Artists, ART1 in 1970. Xerox Corporation’s Palo Alto Research Center designed the first Graphical User Interface in the 1970s, the first Macintosh computer is released in 1984, since then the GUI became popular
9.
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
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