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==Background== |
==Background== |
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Maurizio Bolognini was born in [[Brescia]], [[Italy]]. Before working as a new media artist, he studied urban planning and social science at the [[University of Birmingham]], UK (MSocSc) and the [[University IUAV of Venice]] (Dottore in Urbanistica). He worked extensively as a researcher in the field of structured communication techniques (like the Delphi method) and, later, to their application to [[electronic democracy]].<ref> |
Maurizio Bolognini was born in [[Brescia]], [[Italy]]. Before working as a new media artist, he studied urban planning and social science at the [[University of Birmingham]], UK (MSocSc) and the [[University IUAV of Venice]] (Dottore in Urbanistica). He worked extensively as a researcher in the field of structured communication techniques (like the Delphi method) and, later, to their application to [[electronic democracy]].<ref>{{citation |
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|title=Democrazia elettronica |
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|year=2001 |
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|author=Maurizio Bolognini |
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|language=[[Italian language|Italian]] |
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|publisher=Carocci Editore |
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|isbn=8843020358 |
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[[Image:NICEG.JPG|thumb|left|140 px|''Programmed Machines, Nice, France, 1992-97'']] |
[[Image:NICEG.JPG|thumb|left|140 px|''Programmed Machines, Nice, France, 1992-97'']] |
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3) the introduction of new forms of [[interactivity]] based upon structured communication techniques and e-democracy,<ref>Bolognini, M., “De l'interaction à la démocratie. Vers un art génératif post-digital” / “From interactivity to democracy. Towards a post-digital generative art”, ''Artmedia X Proceedings''. Paris, 2010.</ref> which he used in installations such as the CIMs (Collective Intelligence Machines, since 2000) and ICB (Interactive Collective Blue, 2006). |
3) the introduction of new forms of [[interactivity]] based upon structured communication techniques and e-democracy,<ref>Bolognini, M., “De l'interaction à la démocratie. Vers un art génératif post-digital” / “From interactivity to democracy. Towards a post-digital generative art”, ''Artmedia X Proceedings''. Paris, 2010.</ref> which he used in installations such as the CIMs (Collective Intelligence Machines, since 2000) and ICB (Interactive Collective Blue, 2006). |
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Some of these works were developed through intense cooperation within Artmedia (the pioneering Laboratory of the Aesthetics of Media and Communication, [[University of Salerno]]) and the Laboratory Museum of Contemporary Art, [[Sapienza University of Rome]]. In 2004 Artmedia organized a show, curated by its director Mario Costa, philosopher and theorist of the technological sublime, who aimed to highlight a European tendency in new media art.The show, held at the Sannio Museum, presented works by Roy Ascott (English), Maurizio Bolognini (Italian), Fred Forest (French), Richard Kriesche (Austrian) and Mit Mitropoulos (Greek).<ref>Costa, M., ''New Technologies: Ascott, Bolognini, Forest, Kriesche, Mitropoulos''. Artmedia/Salerno University, Museo del Sannio, 2003.</ref> |
Some of these works were developed through intense cooperation within Artmedia (the pioneering Laboratory of the Aesthetics of Media and Communication, [[University of Salerno]]) and the Laboratory Museum of Contemporary Art, [[Sapienza University of Rome]]. In 2004 Artmedia organized a show, curated by its director Mario Costa, philosopher and theorist of the technological sublime, who aimed to highlight a European tendency in new media art.The show, held at the Sannio Museum, presented works by Roy Ascott (English), Maurizio Bolognini (Italian), Fred Forest (French), Richard Kriesche (Austrian) and Mit Mitropoulos (Greek).<ref>Costa, M., ''New Technologies: Ascott, Bolognini, Forest, Kriesche, Mitropoulos''. Artmedia/Salerno University, Museo del Sannio, 2003.</ref> |
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==Programmed Machines== |
==Programmed Machines== |
Revision as of 21:12, 1 October 2010
Template:New unreviewed article
Maurizio Bolognini (born 1952) is an Italian post-conceptual new media artist. His installations explore the potential of digital technologies starting from the minimal and abstract activation of processes that are beyond artist’s control, at the crossroads between generative art, public art and e-democracy.
Background
Maurizio Bolognini was born in Brescia, Italy. Before working as a new media artist, he studied urban planning and social science at the University of Birmingham, UK (MSocSc) and the University IUAV of Venice (Dottore in Urbanistica). He worked extensively as a researcher in the field of structured communication techniques (like the Delphi method) and, later, to their application to electronic democracy.[1] His research interests and a wide range of art works have focused on three main dimensions of digital technologies:[2]
![](https://upload.wikimedia.org/wikipedia/commons/thumb/1/1a/Programmed_Machines_installation_by_Maurizio_Bolognini.jpg/140px-Programmed_Machines_installation_by_Maurizio_Bolognini.jpg)
1) the possibility of delegating creative functions to generative devices, such as in his Programmed Machines series.[3] From the beginning (1988), this series introduced the concept of infinity into his work, and focused on “the experience of the disproportion (and disjunction) between artist and the art work, which is made possible by computer-based technologies”;[4]
2) the space-time flows of technological communication, and the interplay of geographical and electronic space, which gave rise to works such as Altavista (1996),[5] Antipodes (1998),[6] and Museophagia Planet Tour (1998-99),[7] in which the use of web-based communication flows focused on their physical infrastructure and was often combined with actions taken over long distance travels;
3) the introduction of new forms of interactivity based upon structured communication techniques and e-democracy,[8] which he used in installations such as the CIMs (Collective Intelligence Machines, since 2000) and ICB (Interactive Collective Blue, 2006).
Some of these works were developed through intense cooperation within Artmedia (the pioneering Laboratory of the Aesthetics of Media and Communication, University of Salerno) and the Laboratory Museum of Contemporary Art, Sapienza University of Rome. In 2004 Artmedia organized a show, curated by its director Mario Costa, philosopher and theorist of the technological sublime, who aimed to highlight a European tendency in new media art.The show, held at the Sannio Museum, presented works by Roy Ascott (English), Maurizio Bolognini (Italian), Fred Forest (French), Richard Kriesche (Austrian) and Mit Mitropoulos (Greek).[9]
Programmed Machines
In 1988 Bolognini began using personal computers to generate fluxes of continuously expanding random images. In the 1990s, he programmed hundreds of these computers and left them to run ad infinitum (most of these are still working). About his Programmed Machines he wrote: "I do not consider myself an artist who creates certain images, and I am not merely a conceptual artist. I am one whose machines have actually traced more lines than anyone else, covering boundless surfaces. I am not interested in the formal quality of the images produced by my installations but rather in their flow, their limitlessness in space and time, and the possibility of creating parallel universes of information made up of kilometres of images and infinite trajectories. My installations serve to generate out-of-control infinities."[10]
The Programmed Machines series (and in particular the Sealed Computers, since 1992, whose monitor buses are closed with wax and whose graphic outputs cannot be displayed) is considered one of his most significant works.[11] These Machines were exhibited in many museums and art galleries, in Europe and the United States. In 2003, some sixty Machines were exhibited in three simultaneous shows arranged at the Laboratory Museum of Contemporary Art in Rome, the CACTicino Center for Contemporary Art in Switzerland, and the Williamsburg Art & Historical Center in New York. In 2005 the Villa Croce Museum of Contemporary Art, Genoa, dedicated a retrospective and a monograph to these works.[12]
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 generative machines to the mobile telephone network,[13] to allow a Delphi-like interaction by members of the public. These installations delegate choices to both electronic devices and processes of communication and e-democracy with the aim of involving the audience in new forms of “generative, interactive and public art”.[14]
Maurizio Bolognini’s work is considered relevant to the theory of the technological sublime [15] and the aesthetics of flux (as opposed to the aesthetics of form) [16], and has been seen as a further development of conceptual art within new media art.[17]
External links
References
- ^ Maurizio Bolognini (2001), Democrazia elettronica (in Italian), Carocci Editore, ISBN 8843020358
{{citation}}
: CS1 maint: unrecognized language (link) - ^ Bolognini, M., Postdigitale. Rome: Carocci, 2008.
- ^ Solimano, S. (ed.), Maurizio Bolognini. Programmed Machines 1990-2005. Genoa: Villa Croce Museum of Contemporary Art / Neos, 2005.
- ^ Bolognini, M., Postdigitale, op. cit., p. 24.
- ^ Forest, F., Art et Internet. Paris: Cercle d'art, 2008.
- ^ Cuomo, V, "L’altro nella rete", Kainós, 2, 2003
- ^ de Kerckhove, D. et al, Maurizio Bolognini. Raptus. Brescia: Nuovi Strumenti, 2000.
- ^ Bolognini, M., “De l'interaction à la démocratie. Vers un art génératif post-digital” / “From interactivity to democracy. Towards a post-digital generative art”, Artmedia X Proceedings. Paris, 2010.
- ^ Costa, M., New Technologies: Ascott, Bolognini, Forest, Kriesche, Mitropoulos. Artmedia/Salerno University, Museo del Sannio, 2003.
- ^ Solimano, S. (ed.), Maurizio Bolognini. Programmed Machines 1990-2005', p. 51.
- ^ Broeckmann, A., “Software Art Aesthetics“, in Lartigaud, D. O. (ed.), Art orienté programmation. Paris: Sorbonne, 2008; Lux, S., Arte ipercontemporanea. Rome: Gangemi, 2007; Costa, M. et al., Maurizio Bolognini. Personal Infinity. Brescia: Nuovi Strumenti, 2006; Scudero, D. (ed.), Maurizio Bolognini: installazioni, disegni, azioni. Rome: Lithos, 2003; Grau O. (ed.), Media Art Histories. Cambridge, Ma: MIT Press, 2008; Ams, I., "Code as Performative Speech Act", Artnodes, 2005; Pedrini, E. (ed.) Maurizio Bolognini, Between Utopia and Infochaos. New York: Williamsburg Art & Historical Center, 2003; Approaches in Multimedia Art. New York: Lubelski, 2004; Costa, M., Dimenticare l’arte. Milano: Angeli, 2006; Costa, M., Cafagna, V. (eds.), Phenomenology of New Tech Arts, Artmedia/Salerno University, Department of Philosophy Department of Mathematics and Informatics Morgan, C. R., “Maurizio Bolognini: The Problematic of Art”, Luxflux, 9, 2004.
- ^ Solimano, S. (ed.), Maurizio Bolognini. Programmed Machines 1990-2005, op. cit.
- ^ Bolognini, M., “The SMSMS Project: Collective Intelligence Machines in the Digital City”, Leonardo, 37/2, 2004; Bolognini, M.,”Infoinstallaztions et ville numérique”, Ligeia. Dossiers sur l’art, 45-48. Paris, 2003.
- ^ Bolognini, M., “De l'interaction à la démocratie. Vers un art gėnėratif post-digital” / “From interactivity to democracy. Towards a post-digital generative art”, Artmedia X Proceedings. Paris, 2008.
- ^ Costa, M., New Technologies: Ascott, Bolognini, Forest, Kriesche, Mitropoulos. Artmedia/Salerno University, Museo del Sannio, 2003; Broeckmann, A., “Software Art Aesthetics“, op. cit.
- ^ Costa, M., Dimenticare l’arte. Milano: Angeli, 2006
- ^ Solimano, S., “Metaphors and Moves”, in Maurizio Bolognini. Infinito personale, op. cit.; Morgan, C. R., “Maurizio Bolognini: The Problematic of Art”, op.cit.
Bibliography
Ams, I., "Code as Performative Speech Act", Artnodes, 2005.
Bolognini, M., Democrazia elettronica. Rome: Carocci, 2001.
Bolognini, M.,”Infoinstallations et ville numérique”, Ligeia. Dossiers sur l’art, 45-48. Paris, 2003.
Bolognini, M., “The SMSMS Project: Collective Intelligence Machines in the Digital City”, Leonardo, 37/2, 2004.
Bolognini, M., “De l'interaction à la démocratie. Vers un art génératif post-digital” / “From interactivity to democracy. Towards a post-digital generative art”, Artmedia X Proceedings. Paris, 2008. http://www.bolognini.org/lectures/amx.htm
Bolognini, M., Postdigitale. Rome: Carocci, 2008.
Broeckmann, A., “Software Art Aesthetics“, in Lartigaud, D. O. (ed.), Art orientė programmation. Paris: Sorbonne, 2008. http://www.mikro.in-berlin.de/wiki/tiki-index.php?page=Software+Art
Costa, M., New Technologies: Ascott, Bolognini, Forest, Kriesche, Mitropoulos. Artmedia/Salerno University, Museo del Sannio, 2003.
Costa, M., Cafagna, V. (eds.), Phenomenology of New Tech Arts, Artmedia/Salerno University, Department of Philosophy, Department of Mathematics and Informatics, 2005.
Costa, M. et al., Maurizio Bolognini. Personal Infinity. Brescia: Nuovi Strumenti, 2006.
Costa, M., Dimenticare l'arte. Milano: Angeli, 2006.
Forest, F., Art et Internet. Paris: Cercle d'art, 2008.
Grau O. (ed.), Media Art Histories. Cambridge, Ma: MIT Press, 2008.
de Kerckhove, D., et al, Maurizio Bolognini. Raptus. Brescia: Nuovi Strumenti, 2000.
Lux, S., Arte ipercontemporanea. Rome: Gangemi, 2007.
Morgan, C. R., “Maurizio Bolognini: The Problematic of Art”, Luxflux, 9, 2004.
Morgan, C. R. et al, Approaches in Multimedia Art. New York: Lubelski, 2004.
Pedrini, E. (ed.) Maurizio Bolognini, Between Utopia and Infochaos. New York: Williamsburg Art & Historical Center, 2003.
Scudero, D. (ed.), Maurizio Bolognini: installazioni, disegni, azioni. Rome: Lithos, 2003.
Solimano, S. (ed.), Maurizio Bolognini. Programmed Machines 1990-2005. Genoa: Villa Croce Museum of Contemporary Art / Neos, 2005.