World Library  
Flag as Inappropriate
Email this Article

Maurizio Bolognini

 

Maurizio Bolognini

Maurizio Bolognini (2004)

Maurizio Bolognini (born July 27, 1952) is a post-conceptual media artist. His installations explore the potential and implications of new media technologies starting from the minimal and abstract activation of processes that are beyond the artist's control,[1] at the intersection of generative art, public art and e-democracy.[2]

Contents

  • Background 1
  • Programmed machines 2
  • See also 3
  • References 4
  • External links 5

Background

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 (such as the real-time Delphi method), and electronic democracy.[3] His research interests and a wide range of artworks have focused on three main dimensions of digital technologies:[4]

Programmed Machines, Nice, France, 1992-97
Interactive installation, Art Palace, Cairo, 2008

— the possibility of delegating creative functions to generative devices, such as in his Programmed Machines series. From the beginning (1988), this series introduced the concept of infinity into his work,[5] and focused on "the experience of the disproportion (and disjunction) between artist and the artwork, which is made possible by computer-based technologies";[6]

— the space-time flows of technological communication, and the interplay of geographical and electronic space, which gave rise to works such as Altavista (1996),[7] Antipodes (1998),[8] and Museophagia (1998–99), 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;[9]

— the introduction of new forms of interactivity based upon structured communication techniques and e-democracy, which he used in installations such as the CIMs (Collective Intelligence Machines, since 2000)[10] and ICB (Interactive Collective Blue, 2006).[11]

Some of these works were developed through intense cooperation with technological sublime. The show included works by Roy Ascott (English), Maurizio Bolognini (Italian), Fred Forest (French), Richard Kriesche (Austrian) and Mit Mitropoulos (Greek).[13]

Programmed machines

Museophagia, 1998-99
Interactive installation (CIMs series), Imola, Italy, 2006
CIMs interaction structure

In 1988 Bolognini began using personal computers to generate flows 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 now). 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."[14]

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.[15] 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.[16]

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,[17] to allow a real-time 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”.[18]

Maurizio Bolognini's work has been considered relevant to the theory of the technological sublime[19] and the aesthetics of flux (as opposed to the aesthetics of form),[20] and has been seen as a further development of conceptual art within new media art.[21]

See also

References

  1. ^ Mario Costa (2003), New Technologies. Artmedia, University of Salerno, Museo del Sannio, pp. 7-12.
  2. ^ Maurizio Bolognini, "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. Also in Ethique, esthétique, communication technologique, Edition L'Harmattan. Paris, 2011, pp. 229-239.
  3. ^ Maurizio Bolognini (2001), Democrazia elettronica (in Italian), Rome: Carocci Editore,  , pp. 480-481.
  4. ^ Maurizio Bolognini (2008), Postdigitale (in Italian), Rome: Carocci Editore,  , chap. 1.
  5. ^ Sandra Solimano (ed.) (2005), Maurizio Bolognini. Programmed Machines 1990-2005, Genoa: Villa Croce Museum of Contemporary Art, Neos,  .
  6. ^ Maurizio Bolognini (2008), Postdigitale, Rome: Carocci Editore, p. 24.
  7. ^  , pp. 67-71.
  8. ^ Vincenzo Cuomo, "L’altro nella rete", Kainós, 2, 2003.
  9. ^ Derrick de Kerckhove, "Museophagia - The art gallery in the age of its digital reproduction", in Piero Cavellini (ed.) (1999), Maurizio Bolognini. Raptus, Brescia: Nuovi Strumenti, pp. 19-25.
  10. ^ Maurizio Bolognini, "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.
  11. ^ Maurizio Bolognini (2008), Postdigitale, Rome: Carocci Editore, pp. 20-21.
  12. ^ Domenico Scudero (ed.) (2003), Maurizio Bolognini: installazioni, disegni, azioni (in Italian), Rome: Lithos,  .
  13. ^ Mario Costa (2003), New Technologies: Ascott, Bolognini, Forest, Kriesche, Mitropoulos. Artmedia, University of Salerno, Museo del Sannio.
  14. ^ Maurizio Bolognini (2008), Postdigitale, Rome: Carocci Editore, p. 34. See also Sandra Solimano (ed.) (2005), Maurizio Bolognini. Programmed Machines 1990-2005, Genoa: Villa Croce Museum of Contemporary Art, Neos, p. 15.
  15. ^ Andreas Broeckmann, "Image, Process, Performance, Machine: Aspects of an Aesthetics of the Machinic", in Oliver Grau (ed.) (2007), Media Art Histories, Cambridge: Luxflux, 4, 2004, pp. 94-101.
  16. ^ Sandra Solimano (ed.) (2005), Maurizio Bolognini. Programmed Machines 1990-2005, Genoa: Villa Croce Museum of Contemporary Art, Neos.
  17. ^ Maurizio Bolognini, "The SMSMS Project: Collective Intelligence Machines in the Digital City", Leonardo/MIT Press, 37/2, 2004, pp. 147-149; Maurizio Bolognini, "Infoinstallations et ville numérique", Ligeia. Dossiers sur l’art, 45-48. Paris, 2003, pp. 57-60.
  18. ^ Maurizio Bolognini (2010), "De l'interaction à la démocratie. Vers un art gėnėratif post-digital", Artmedia X Proceedings, Paris.
  19. ^ (2003), Mario Costa, New Technologies: Ascott, Bolognini, Forest, Kriesche, Mitropoulos, Artmedia, University of Salerno, Museo del Sannio, pp. 7-12; Andreas Broeckmann, "Software Art Aesthetics", in David Olivier Lartigaud (ed.) (2008), Art orienté programmation, Paris: Sorbonne University.
  20. ^ Mario Costa (2006), Dimenticare l’arte, Milan: Franco Angeli; Mario Costa (2010), Arte contemporanea ed estetica del flusso (in Italian), Vercelli: Edizioni Mercurio,  , pp. 123-124.
  21. ^ Sandra Solimano, "Metaphors and Moves", in Maurizio Bolognini. Personal Infinity, Brescia: Nuovi Strumenti, pp. 17-18; Robert C. Morgan, "Maurizio Bolognini: The Problematic of Art", Luxflux, 4, 2004, p. 96.

External links

  • Official site for Maurizio Bolognini
This article was sourced from Creative Commons Attribution-ShareAlike License; additional terms may apply. World Heritage Encyclopedia content is assembled from numerous content providers, Open Access Publishing, and in compliance with The Fair Access to Science and Technology Research Act (FASTR), Wikimedia Foundation, Inc., Public Library of Science, The Encyclopedia of Life, Open Book Publishers (OBP), PubMed, U.S. National Library of Medicine, National Center for Biotechnology Information, U.S. National Library of Medicine, National Institutes of Health (NIH), U.S. Department of Health & Human Services, and USA.gov, which sources content from all federal, state, local, tribal, and territorial government publication portals (.gov, .mil, .edu). Funding for USA.gov and content contributors is made possible from the U.S. Congress, E-Government Act of 2002.
 
Crowd sourced content that is contributed to World Heritage Encyclopedia is peer reviewed and edited by our editorial staff to ensure quality scholarly research articles.
 
By using this site, you agree to the Terms of Use and Privacy Policy. World Heritage Encyclopedia™ is a registered trademark of the World Public Library Association, a non-profit organization.
 



Copyright © World Library Foundation. All rights reserved. eBooks from School eBook Library are sponsored by the World Library Foundation,
a 501c(4) Member's Support Non-Profit Organization, and is NOT affiliated with any governmental agency or department.