from C. Hope, J. C Rian, Digital Arts: An Introduction to New Media, Bloomsbury, New York 2014, ch. 9:

"Maurizio Bolognini revises the very notion of a digital device to encompass hardware, software and the public. Postdigital artists see digital devices as enmeshed in social processes and patterns. For Bolognini, ‘neo-technological art’ (his preferred term for new media art) refers to a heterogeneous field that coalesces around the pillars of art, technology and activism, reinforcing the social dimension of the science art alliance. New modes of participation offer a variety of possibilities for digital art in which there is a shift from weak modes of public interaction to stronger modes that promote democracy and public decision-making. [...] To be sure, digital art in the future will utilize participatory technologies and mobile communications to a greater extent. It is the pervasiveness of digital technology in our everyday lives that underpins the postdigital character of art. Bolognini argues that the shift to the postdigital occurs as practices go beyond early experimental phases and enter mainstream circulation. For example, software is now routinely used in art and design, making the notion of ‘software art’, including software-based art and programming aesthetics, somewhat outmoded (unless, of course, the history of the genre is being considered). For Bolognini, the first stage of ‘neo-technological art’ was marked by experimentation and research, followed by a period of ‘diffusion’ in which the distinction between media art and media technology collapses. Moreover, ‘generative art’ (another post-media aesthetic in Manovich’s terms [...]) allows artists to set out the rules followed by devices that are designed to operate autonomously. Here, Bolognini distinguishes between ‘device-oriented generative practices’ (which use software in experimental ways aligned with early media art) and ‘outcome-oriented generative practices’ (which prioritize final products rather than creative processes and are aligned with the rather non-experimental diffusion phase mentioned above). [...] As an interdisciplinary prospect, a postdigital future lies in a dynamic zone beteen the digital and material, the real and the constructed, the sign and the referent. Artist and critic Mel Alexemberg in The Future of Art in the Postdigital Age echoes the social emphasis of Mark Tribe and Maurizio Bolognini in defining postdigital art as “of pertaing to art forms that address the humanization of digital technologies through the interplay between digital , biological, cultural and spiritual systems, between cyberspace and real space...”

from Thomas Nail, Theory of the Image, Oxford University Press, Oxford 2019, p. 352:

"More disordered still is Maurizio Bolognini's Programmed Machines (1988-), composed of enclosed computers generating flows of continuously iterated pedetic images. In the 1990s, Bolognini programmed hundreds of these computers and left them to run ad infinitum. Most of them are still working today. […] In another work, Collective Intelligence (2000), Bolognini used similar machines to project random lines of light onto public surfaces and allowed mobile telephones to interact with them, changing the patterns in real time and creating “generative, interactive and public art”. Bolognini thus introduces pedesis and feedback at every level of the aesthetic process. The input is interactive and collective from the population, and the computer processing then randomizes the input, resulting in a highly pedetic and interactive output."