Bit International is a multilingual journal for visual research and media theory that was published by the Gallery of Contemporary Art in Zagreb from 1968 until 1972 as part of the so-called New Tendencies (1961–1973). 9 issues were published, with two double issues. During the height of the Cold War, New Tendencies transformed from an interna- tional art show held in Zagreb, to a movement, bringing together artists and scientists from the whole world on the platform of theory and practice exchange. he irst exhibition in 1961, displayed the neo-constructivist and concrete practices; monochrome art and visual research in the areas of algorithmic art, light, interactivity and unstable me- dia. he second show, in 1963, established the network of artists and grew into an international movement on the art premises of the new age. he emphasis was on positive relation toward science, visual experiment and critical questioning of the visual sphere, but also on social change and ending of art as a unique object. It was believed that by establishing the new modes of distribution of art outside of the art market, art might become accessible to all. he theoretical background came from the art historian Matko Mestrovic and his catalogue article he Ideology of New Tendencies. He announced the overcoming of art by turning social into artistic act: “… plastic–visual research attempts to set the objective psycho–physical bases of plastic phenomena and visual perception, excluding in advance any possibility of the involvement of subjectivity, individualism and romanticism…”. New Tendencies 3, held in 1965, were marked by the inner crisis of the movement and the ending of the pluralist approach in favor of a one-sided agenda that, formally, led to simplifying of esthetic ideas and ignoring of the idea of social activism. Tendencies 4 (1968 and 1969) were based on the aesthetics of informatics developed by Max Bense and Abraham Moles. It provided basis for the launched journal Bit International. By this time, Zagreb has become the meeting point for an aesthetic and media–theoretical contemplation that was rather unique at the time. he works of Vladimir Bonacic, the pioneer of the computer-generated art, aim at the desired synthesis of theory and practice, art and science. he show remains a unique exhibit on the account of its continuous creation of the context through the use of computers in art. Tendencies 5 from 1973, consisted of three segments “constructive visual research”, “computers and visual research” and “conceptual art”. he three segments were uniied in a concept within the program’s idea that has allowed artists to relinquish their work to be inished by “other”. During the period of the New Tendencies move- ment, Zagreb has become a world research center of the esthetic, scientiic and political potential of medial and computer arts.