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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,〔Mario Costa (2003), ''New Technologies''. Artmedia, University of Salerno, Museo del Sannio, pp. 7-12.〕 at the intersection of generative art, public art and e-democracy.〔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.〕 ==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.〔. , pp. 480-481.〕 His research interests and a wide range of artworks have focused on three main dimensions of digital technologies:〔, chap. 1.〕 — 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,〔.〕 and focused on "the experience of the disproportion (and disjunction) between artist and the artwork, which is made possible by computer-based technologies";〔Maurizio Bolognini (2008), ''Postdigitale'', Rome: Carocci Editore, p. 24.〕 — the space-time flows of technological communication, and the interplay of geographical and electronic space, which gave rise to works such as Altavista (1996),〔, pp. 67-71.〕 Antipodes (1998),〔Vincenzo Cuomo, ("L’altro nella rete" ), ''Kainós'', 2, 2003.〕 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;〔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.〕 — 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)〔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.〕 and ICB (Interactive Collective Blue, 2006).〔Maurizio Bolognini (2008), ''Postdigitale'', Rome: Carocci Editore, pp. 20-21.〕 Some of these works were developed through intense cooperation with Artmedia, the Laboratory of the Aesthetics of Media and Communication, University of Salerno, and the Laboratory Museum of Contemporary Art (MLAC), Sapienza University of Rome. In 2003 the MLAC published a monograph book on Bolognini’s work.〔.〕 In 2004 Artmedia organized a show which was aimed to highlight a European tendency in new media art, based on the concept of the ''technological sublime''. The show included works by Roy Ascott (English), Maurizio Bolognini (Italian), Fred Forest (French), Richard Kriesche (Austrian) and Mit Mitropoulos (Greek).〔Mario Costa (2003), ''New Technologies: Ascott, Bolognini, Forest, Kriesche, Mitropoulos''. Artmedia, University of Salerno, Museo del Sannio.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Maurizio Bolognini」の詳細全文を読む スポンサード リンク
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