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bcd CyberneticArt team (Königswinter_Berlin_Zagreb):
Miro A. Cimerman & Dunja Donassy-Bonačić
Our principal interest is in deciphering complex structures of "behaviour" of the Galois Fields1) through visual and audible effects by usage of interactive [digital] computer systems applying the "Hidden Data Structures Method" ( © bcd team ). With the aim of employing the results in the field of CyberneticArt – by improving "Pixel Graphics", "Pixel Sculptures", and "Pixel Installations" ( based on the "intelligent interactive pixel principle", © bcd team ) – we further contribute distinguishably, but complementary, to the computer art community. In addition we focus on implementation of CyberneticArt for Resilience of [Digital] Information Society.
bcd team (Project,Paris,1984) Vladimir Bonačić (right) + Miro A. Cimerman (left) + Dunja Donassy (middle)
© Dunja Donassy-Bonačić, bcd CyberneticArt team
The first Croatian vacuum tube digital computer in 1958/59 by Prof. Branko Souček, the founder and first head of Laboratory for Cybernetics at National Institute Ruđer Bošković | Zagreb. Miro’s Professor in Computer Sciences, Vladimir’s and Miro’s older colleague in Laboratory.
Men - Machine visual communication with on-line minicomputer PDP 8 (DEC) connected via A/D and D/A converters to the Light Pen System & oscilloscope for displaying “pixel graphics" on the CRT screen. The System was constructed in mid 1960s at The Laboratory for Cybernetics (IRB | Zagreb) and used for scientific research, mainly in nuclear spectroscopy (leftmost: spectrum 3He(3He,2p)aHe), but also by Vladimir (rightmost: “PLN-9 V.B.”) in his pioneering use of “Computer in Visual Research” since 1968 onward. In the middle (from left): TTY, PDP 8, A/D and D/A converters, oscilloscope with CRT screen, light pen stylus.
Computer system (comprising two computers PDP 8 and SDS 930, alias CAE 90-40) for “Pseudo-Random Digital Transformation” of experimental data in nuclear pulse spectrometry applications at Laboratory for Cybernetics (IRB | Zagreb) in mid 1960s. Small laboratory minicomputer PDP 8 (programmed in assembler) operates in real-time mode either: a) gathering/transforming and memorizing on-line spectrum data or b) simulating arbitrary spectrum data via Light Pen System per manual interaction. Midsize host computer SDS 930, capable of time-sharing and real-time processing, (programmed in a unique Real-Time FORTRAN higher language, combined with assembler sequences) operates in off-line mode as post-experimental pseudo-random analyzer system.
Computer-Based CyberneticArt "Pixel Installation" in Public Space by V. Bonačić premier exhibited at tendencies 4, Zagreb 1969 (upper left and right: detail) followed by two other "Pixel Installations" in Public Spaces, Zagreb until 1971 (lower left and right).
Computer-Based CyberneticArt "Pixel Sculpture" Dynamic Object DIN.GF100 by V. Bonačić premier exhibited at tendencies 4, Zagreb 1969. Together with "Pixel Installation" in Public Space 1969, both are part of the prize recognition for "Computer and Visual Research" from the International Competition Jury of Tendencies 4, Zagreb in 1969 (among others Umberto Eco as juror).
These very early CyberneticArt "Pixel Installations" in Public Spaces and "Pixel Sculpture" DIN.GF100 by V. Bonačić have in common “map[ping]ware” – author’s own invention since 1968/1969: proprietary special-purpose self-made system for mapping software functionality simulated at the host computer (SDS 930) into a special purpose digital electronics hardware being able to emulate the source functionality in it. (The then [digital] computers have been very expensive and too huge to be devoted as constituent part of an artwork.)
Computer-Based CyberneticArt "Pixel Sculpture" Dynamic Object GF.E 16 S by V. Bonačić as integral part of teaching by bcd team for master students of HU and TU. [text will be updated]
Computer-Based CyberneticArt "Pixel Sculpture" Dynamic Object GF.E 32 NS by V. Bonačić. Recently at ZKM's "Writing the History of the Future" (23.02.2019 - 28.03.2021), and Cleveland's Triennial "FRONT International" + photo from bcd Archive. [text will be updated]
Computer-Based CyberneticArt "Pixel Sculpture" Dynamic Object GF.E 16,4 NSCM by V. Bonačić (upper left). Driven by Galois Field digital Electronics (built-in self-constructed, self-made special purpose hardware) emulates Non-Symetric patterns of flashing Colored lights & Music compositions (surround sound based on self-introduced “BinaryScale” and “FloatingRhythm”). It is interactively (manual or radio-) controlled (lower left, upper right) and immerses spectators into “Dynamic Visual & Acoustic Space Performance” – “Listen to Pictures & See the Music” (lower right). Circle denotes at ZKM’s Exhibition (2008/2009) the optimal position for surround effect (influenced by acoustic properties of the space).
bcd team (left: Bonačić, middle: Cimerman, right: Donassy) applying GT40 Graphic Display Terminal with Light Pen (DEC, based on PDP 11/05 minicomputer) for research & development & education of CyberneticArt at "Jerusalem Program in Art and Science", Bezalel Academy of Arts and Design, around mid 1970s. [text will be updated]
Computer-Based CyberneticArt "Pixel Sculpture" Dynamic Line 64 by bcd team (1975) personifies several crucial hypothesis of [New] Tendencies, especially inseparable unity of artist, artwork & computer, and spectator. Utopian in 1960s, but with Single Board Computer (SBC; predecessor of the Mother Board of PCs in 1980s), arriving in 1970s, becoming intrinsic part of the CyberneticArt objects, it opens up a new paradigm in Man-Machine communication as creative partners in arts. [text will be updated]
Premier performance by bcd team in Germany utilizing newly, by ARD/WDR from BBC London acquired, digital computer based Graphical System ICON, connected to the Host Computer at Computer Centre of infas Institute (Bonn, Bad Godesberg) for Federal Election Reporting (October 1980). Since May 1980 bcd team’s newly concept for graphic appearance of ICON was in preparation, was approved by ARD/WDR and consequently applied successfully by bcd team for the October election. Upper and lower left side in background: ICON (PDP-11.34 + PDP-11.04 + accompanying color display). Upper right in background: details of the Host (IBM System/370). Lower right: projection (Hochrechnung) displayed by ICON and delivered electronically in broadcasting quality straight to the ARD/WDR studio equipment.
COMPAQ Portable Plus in Election Broadcasting Studio: early beginner's graphics (upper left).
COMPAQ Portable Plus enables interaction with CyberneticArt Dynamic Object GF.E 16,4 NSCM at St Kilian Church | Wiesbaden during life performance of CyberneticArt Music. It was the world premiere of “Floating Rhythm” by bcd team (upper right). [text will be updated]
COMPAQ Portable 386 (upper left and right)
COMPAQ Portable 386 "in action" at SWF. Mid left: Vladimir Bonačić (bcd CyberneticArt team) / mid right: SWF-Chefredakteur Reinhard Kleinmann ("Meinungsreport") testing CIS’90 (“Cybernetic Information System”, developed
and © by bcd team). [text will be updated]
Germany premiere of VR in Broadcasting Studio at SWF by bcd team (moderator: Reinhard Kleinmann). [text will be updated]
Computer-Based CyberneticArt interactive "Pixel Installation" INSTANTANEOUS by bcd team (1987) is an “impregnable unity” established between sixteen COMPAQ Deskpro 386 computers linked via LAN network (Novell NetWare) into the “dematerialized work of art” emulating on-line the “transcendental” Galois Field in real-time. Two additional COMPAQ Deskpro 386 computers have been responsible for generation of the Galois Fields, operation of the network, the long-term memory, real-time scheduling of 16 parallel processors using “intelligent heuristic methods” and the interface with a graphical data-base (corresponding to the then PAL TV-broadcasting standard; different TV-standards, such as SECAM or NTSC including HDTV, could also be used with minor adaptations).
N. B. Exclusive world premiere exhibition was generously supported by COMPAQ Headquarters from Huston and Munich by gathering through Europe (practically in no time) the than newly introduced Deskpros 386 and getting them professionally installed (practically in no time) by Technical Division from Munich. The exhibition was held at Academia Nationale dei Lincei, Rome, 1987 under the auspices of UNESCO and European Academy of Arts, Sciences, and Humanities on the occasion of The International Colloquium “The Scientific Dimension of Cultural Development”. Reprint of the accompanied paper “A Transcendental Concept for Cybernetic Art in the 21st Century”, published in LEONARDO, Vol. 22, No. 1, pp. 109-111, 1989, will be on disposal for VCFB 2020 together with associated documentation “bcd Visions for Cybernetic Art” (published by Paris Art Center and European Academy of Arts, Sciences and Humanities, autumn 1987), site specific photo documentation of the exhibition, and short video by France [Régions] 3 (FR3) depicting Deskpros 386 "performing" VR “motion without movement”.
Finally, the “space-time travel” through the observed Galois Fields, simulated in the transcendence, but emulated in materiality & temporality of our silicon-technology-critical VR, personifies a true “instantaneous” parallel processing mode beyond “length contraction & time dilation” in which “location”, “here”, or “there”, and "time sequence", "before", or "after" hardly have meaning, except to remind us that we thought, somewhere in the past, or that we’ll think, somewhere in the future, perhaps differently then right here and now, nevertheless “cybernating” back and forth by “trial and error". Thus, resiliently tackling our “Cybernetic enhanced ethical Cognitive Learning”, inborn to all human beings regardless of "whatever", for a Betterment of our [Digital] Information Society.
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