The Computer-generated Artworks of Vladimir Bonačić / CAT 2010 London paper (original) (raw)

The Computer-Generated Artworks of Vladimir Bonačić

Electronic Workshops in Computing, 2010

Scientist Vladimir Bonačić began his artistic career 1968 under the auspices of the international movement NewTendencies (NT), at the Gallery for Contemporary Art of Zagreb, which had pushed for his inclusion. From 1968 to 1971 Bonačić created a series of "dynamic objects"-interactive computer-generated light installations, five of which were set up in public spaces. The author shows the context of Bonačić's work within the Zagreb cultural environment dominated by the New Tendencies movement and network (1961-1973). The paper shows his theoretical and practical criticism of the use of randomness in computer-generated art and describes his working methods as combining the algebra of Galois fields and an anti-commercial approach with custom-made hardware. It seems that Bonačić's work fulfills and develops Matko Mestrovic´'s proposition that "in order to enrich that which is human, art must start to penetrate the extra-poetic and the extrahuman."

Vladimir Bonačić: Computer-Generated Works Made Within Zagreb’s New Tendencies Network (1961–1973)

2008

Scientist Vladimir Bonačić began his artistic career in 1968 under the auspices of the international New Tendencies movement (NT). From 1968 to 1971 Bonačić created a series of “dynamic objects” —interactive computer-generated light installations, five of which were set up in public spaces. The author shows the context of Bonačić’s work within the Zagreb cultural environment dominated by the New Tendencies movement and network (1961–1973). The paper shows his theoretical and practical criticism of the use of randomness in computer-generated art and describes his working methods as combining the algebra of Galois fields and an anti-commercial approach with custom-made hardware. It seems that Bonačić’s work fulfills and develops Matko Meštrović’s proposition that “in order to enrich that which is human, art must start to penetrate the extra-poetic and the extra-human.” R EF R ES H ! C O N FE R EN C E PA P ER S Fig. 1. Installation view from the exhibition Computers and Visual Research...

Notes on a New Kind of Art

Matlit Revista do Programa de Doutoramento em Materialidades da Literatura, 2015

I started working with robots applied to art around the turn of the century. Aiming at the most possible autonomy of the process, they were the next logical step after experimenting with algorithms confined to the computer environment. I was never interested in “digital art”. The first experiences, with an ant algorithm running on a computer connected to a robotic arm [fig. 1], showed the potential for a machine to create its own drawings and paintings as a kind of artificial creativity. The claim that these works represent a new kind of art, the art of machines, may be controversial in the context of the mainstream art world. But, actually, it is inscribed in the global evolution of robotics and artificial intelligence towards a greater autonomy of machines. Art announces what is about to arrive. DOI: http://dx.doi.org/10.14195/2182-8830\_3-1\_11 DOI: http://dx.doi.org/10.14195/2182-8830\_3-1\_11

Žarko Paić Art and the Technosphere CSP

Art and the Technosphere, 2022

In the analysis of the relationship between aesthetics and contemporary art, this book investigates hermeneutics, phenomenology and semiotics when it comes to the notion of the image and its new status concerning avant-garde art, which went in the direction of the analysis of posthumanism/transhumanism. Showing that we must begin to think of the aesthetic construction of the worlds, rather than representing the idea in its eternity, it explains that contemporary art from avant-garde procedures of shock, provocation and experiment enters the area of the metatheory of visualization of the event. From the caves, temples, and cathedrals to the museums of contemporary art and, finally, to the event of creation and enjoyment in a digital simulation, a circle of the historical development of art is closed. The problem is no longer about “what” art is, but “how” we should determine the difference between the aesthetic object and artificial life.