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Special Section: REFRESH! Conference Papers
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Journal Articles
Publisher: Journals Gateway
Leonardo (2008) 41 (2): 160–161.
Published: 01 April 2008
Journal Articles
Publisher: Journals Gateway
Leonardo (2008) 41 (2): 175–183.
Published: 01 April 2008
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ABSTRACT 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.”
Journal Articles
Publisher: Journals Gateway
Leonardo (2008) 41 (2): 162–168.
Published: 01 April 2008
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ABSTRACT Despite his influence in art, architecture and theater, British cybernetician Gordon Pask is rarely acknowledged in histories of digital culture and virtually unknown in the history of art. Pask is better known as a theoretician than as an artist or designer, although his machines, artwork and theories were closely related. This article investigates the relevance of specific aspects of Pask's theories to his best-known artwork, The Colloquy of Mobiles , to illustrate his characteristic unification of science and art, and theory and material experimentation. Select works of contemporary art are discussed to indicate Pask's significance to contemporary art practices.
Journal Articles
Publisher: Journals Gateway
Leonardo (2008) 41 (2): 169–173.
Published: 01 April 2008
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ABSTRACT Using the Los Angeles County Museum of Art's 1971 exhibition “Art and Technology” as a case study, this essay examines a shift in attitude on the part of influential American artists and critics toward collaborations between art and technology from one of optimism in the mid-1960s to one of suspicion in the early 1970s. The Vietnam War dramatically undermined public confidence in the promise of new technology, linking it with corporate support of the war. Ultimately, the discrediting of industry-sponsored technology not only undermined the premises of the LACMA exhibition but also may have contributed to the demise of the larger “art and technology” movement in the United States.