Cro Art Scia2015 bcd press release CM3 DD3

Oral Presentation + WebConferencing (May 28th, 2015, 12:30-13:00) at The Technical Museum, Zagreb on the Occasion of the 3rd International Interdisciplinary Symposium CroArtScia2015 – Technological Innovations: Art & Science

Programme

“Synergy of Art & Science in the Cybernetic Art of Vladimir Bonačić & bcd CyberneticArt team” (*) @ Humboldt University Berlin by Miro A. Cimerman and Dunja Donassy-Bonačić bcd CyberneticArt team, Königswinter | Berlin, Germany – Zagreb, Croatia “Back to the time when digital art was still new” lead us our media archaeological “time slip”, where we begin the investigation of the “last avant-garde” – the international artist’s movement [New] Tendencies ([N]T) – of 1960ies & 70ies, latterly named “The Miracle of Zagreb”. We try to broaden our minds with reach art & science ideas and experiences of that epoch - from technology application to value system - in order to find the relevance for our digital age. We focus on the Tendencies 4 (1968/69) and 5 (1973) presented as novelty in the [N]T-Program „Computer and Visual Research“. Especially on the early works by Vladimir Bonačić, which we survey “in vivo”. We explore into 1990ies the artworks of bcd CyberneticArt team (founded by Vladimir Bonačić, Miro A. Cimerman and Dunja Donassy in 1971 in Zagreb as spin-off of [N]T). We start our media archaeological “adventure” with screening of the 60’ [N]T-Documentary Film (initiated by bcd and co-organized/coproduced with HRT, ZKM, MSU(*) and number of European supporters). We present slide shows and videos, apply FloatingTeam (© bcd) as didactic methodology, HU-WebConferencing-System for remote attendance, HU-Moodle-System for weekly homework management and Informative-Documentary-MultiMedia-Exhibition as final presentation. The HU-Signal-Laboratory is our “at home”, and every Wednesday is “open door afternoon”. (*) Project seminar by bcd in winter semester 2014/15 @ Media Theories, directed by Prof. Wolfgang Ernst, HU Berlin. The authors gratefully acknowledge encouragement and support, as well from: Croatian Radio Television (HRT|Zagreb), Center for Art and Media Technology (ZKM|Karlsruhe), Museum of Contemporary Art (MSU|Zagreb), Ruđer Bošković Institute (IRB|Zagreb), World Academy of Art & Science (WAAS), Kroatien Kreativ 2013[+] (KK2013[+]), ZAG Gallery (Zittau), CroArtScia2015, and Technical Museum (TM|Zagreb). ----------------

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Informative-Documentary-MultiMedia-Exhibition (May 27th – 30th, 2015) at The Technical Museum, Zagreb on the Occasion of the 3rd International Interdisciplinary Symposium CroArtScia2015 – Technological Innovations: Art & Science

Ruđer Bošković Institute „Art & Science“ in 1968/9 @ Laboratory for Cybernetics, The Ruđer Bošković Institute, Zagreb Early computer-generated cybernetic artworks (1968/9) by Vladimir Bonačić emerged at the interface of science and art, as a result of collaboration between the then Gallery of Contemporary Art and the Laboratory for Cybernetics at the Ruđer Bošković Institute in the framework of the T4 events (Zagreb, 1968, 1969) of the international artists movement [New] Tendencies ([N]T). At that time the Laboratory was known for its research and development of the “System for Pseudo-Random Digital Transformation”, based on the application of the Galois Field Theory. The organizers of [N]T came upon Vladimir Bonačić and intensive collaboration led to the art historical signet work, object t4 – a joint work of artist Ivan Picelj and scientist Vladimir Bonačić – created in 1968 and exhibited in 1969 at the t4 exhibition. Vladimir introduced a new approach to start exploring the “behavior” of the Galois Fields with the aim of applying it for cybernetic art. Through visual effects he removed the stumbling blocks hindering the search for hidden data structures of the Galois Fields hitherto unknown to mathematical processing. For the emulation he used programming language Assembler and PDP-8 computer supplemented by an interactive optical system “Screen with Light Pen” constructed in the Laboratory. It consists of digital-analog converters that, monitored by a computer program, control the illumination of the oscilloscope screen. Light patterns on the screen could be filmed by photo camera. The desired artistic impression could be achieved through interactive analog-digital electronic interventions, direct access to the computer program, and photographic procedures. For the simulation he used programming language Real-Time FORTRAN and SDS 930 computer with the line printer as output device.