Telematic Art

Testo dell’intervento fatto da Tommaso Tozzi nella sezione Interventi sulle relazioni fra “Arte e/o computer”, del convegno Pietro Grossi: arte e/o computer. Computer Music, Digital Art, Net Art, Visual Music, svoltosi al Centro per l’Arte Contemporanea Luigi Pecci di Prato, il 19 ottobre 2017.
Vengono descritti e documentati sia la prima esecuzione al computer fatta dal musicista fiorentino Pietro Grossi nel 1967 del Capriccio n. 5 di Paganini, sia il primo esperimento di musica tele-cibernetica realizzata dal Maestro Grossi tra Rimini e Pisa nel 1970.

One of the theatre and performance conventions that has been challenged by the application of technology is that of space. Theatrical space has been “expanded” through the application of technology and its artefacts. However, it is not really clear what is meant by “expansion”, as it means different things according to different authors and these divergent meanings often lead to misunderstandings. In this article, I will demonstrate the need for a more nuanced understanding of what the expansion of theatrical space means and its impact on the concept of spectatorship.

The analysis will be based on three distinct forms of digital performance where spatial expansion has been an issue; these are three categories that also mark the heterogeneity and dynamism of the convergence of performance and technology: multimedia performance, telematic performance and pervasive performance. Through an analysis of specific cases across the categories, I aim to show how the expansion of space implies a more participatory stance in the role of the spectator.

In this dissertation, I explore a phenomenon I call virtual touch, in which embodied sensations of touch are felt through non-tactile senses. In the digital age, online interactivity has expanded the ways in which individuals experience connection, intimacy, and touch. Digital media, which have traditionally been thought of as disembodied, nevertheless have the ability to elicit intense feelings of touch. Through analysis of digital and virtual installation art, I examine the ways that non-tactile touch remains rooted in the embodied experience. The works I include in this study create a feeling of virtual touch through a co-functioning of the senses, and through what Brian Massumi terms “the superiority of the analog,” in which all experience is inherently rooted in the body.

Grounded in Merleau-Ponty’s theory of the embodied subject, I focus on three broad categories of installation art, each of which creates an affective response of virtual touch through senses of sight and proprioception: telematic performance using video-conferencing technology, digitally reactive animations, and immersive sculptures of light designed to decenter the perceptual and visual senses. Along with works by artists Paul Sermon, Adrien M & Claire B, teamLab, and James Turrell, I include analyses of two research performances I created, Being Present (2016) and (dis)embodied in space (2019), both of which entangled live and mediatized bodies through telematic video technology. Each of the artworks that I include place an emphasis on the embodied experience, engaging bodies in interactions of virtual touch with other bodies, with digitally reactive artworks, and with light and space. Throughout this dissertation, I argue for a rethinking of concepts of touch, intimacy, and connection in the digital age.

Niniejszy artykuł jest próbą uzgodnienia stanowisk narratologii kognitywistycznej, psychonarratologii, medio-znawstwa, filozofii wirtualności i ludologii w interdyscyplinarnych studiach nad imersją w li¬teraturze i kulturze. Wbrew dominującej tendencji do konceptualizowania imersywności jako zjawiska towarzyszącego pierwszo-rzędnie doświadczeniom interaktywności czy telematyczności, proponuje się tu podążyć za uwagami Marie-Laure Ryan i Lisbeth Klastrup na temat nowych sytuacji odbiorczych w narracjach światocentrycznych, kreujących wrażenie swego rodzaju „światoodczucia” (wordlness). Dzięki zaś zestawieniu zbliżonych mechanizmów odbiorczych w grach wideo, kinie 3D i literaturze światotwórczej, sformułowana zostaje propozycja teoretyczna umożliwiająca opis zjawiska odbioru rezydentnego, przedkładającego „wyobrażeniowe zamieszkanie w świecie” ponad pogoń za atrakcyjną i wartką fabułą.

This study focuses on the effectiveness of LOLA (LOw Latency), an audiovisual streaming  system, for distributed music practice.  LOLA facilitates the transmission of synchronous audio and video and is designed for use over high speed national research and education networks. 
Limitations in H.323 standard videoconference systems and desktop-based audiovisual streaming technologies mean that they are only suitable for asynchronous collaboration and do not allow musicians to play together in real-time over distances.  Because of the limitations in these technologies, much of the existing research in the field focuses on audio-only music collaboration, primarily amongst improvising musicians, and places less emphasis on the role of video.  This study attempts to address the gap in literature in synchronous audio/video collaboration through the evaluation of a series of case studies featuring musicians from jazz and classical backgrounds.  Case studies took place at Edinburgh Napier University and a number of remote music institutions between September 2012 and April 2015.  LOLA technology was used to facilitate distributed rehearsals, masterclasses, coachings and performances with musicians in a range of musical groupings.  There is little research exploring how audiences perceive distributed performances where one or more musicians are remote.  This study also considers the views of audiences present at a number of the case studies.  Research revealed that there are distinct differences in the way musicians use of the video element of LOLA and this was most evident when comparing the experiences of classical and jazz musicians.  Findings also suggest that the presentation of video has an impact on the appreciation of distributed performance for both musicians and audiences.  In concluding, the study looks ahead to how remote distributed music collaboration may develop in the future and considers social, cultural and technical challenges.

of Storyboard Review," looks at the context of storyboarding in an animation studio and describes that a storyboard is a pictorial representation of a sequence of scenes and that it is critical for the development of concepts in collaborative projects (Blatter 2007).

PRADO, Gilbertto. Arte telemática: dos intercâmbios pontuais aos ambientes virtuais multiusuário, Itaú Cultural, São Paulo, 2003. ISBN 85-85291-40-0
“As máquinas tecnológicas de informação e de comunicaçãooperam no núcleo da subjetividade humana, mas não apenas noseio das suas memórias, da sua inteligência, mas também da suasensibilidade, dos seus afetos, dos seus fantasmas inconscientes.”Félix GuattariO recente progresso das novas tecnologias apresenta um grande desafio para os artistasenvolvidos  com  essas  vertentes  e  profissionais  das  áreas  correlatas.  Tal  fato  se  dá  emvirtude  da  demanda  que  essas  tecnologias  apresentam  de  um  trabalho  integrado  entrediferentes  áreas  de  atuação,  especialização  e  conhecimento.  Deve-se  levar  emconsideração  que  essa  dinâmica  de  atuação/participação  de  áreas  da  tecnociência  emprodutos de natureza artística é resultante de um conjunto de forças que contém, entreseus vetores, a hibridização e o contato com outros campos de ação e conhecimento.As artes, as ciências e as técnicas entretêm relações de interdependência que possibilitamque  as  invenções  ou  mutações  tecnológicas  façam  emergir  novas  formas  artísticas.  Se  atecnologia, com seus avanços, não inventa necessariamente novidades, ela transforma ascondições de produção, modificando assim o seu status. As tecnologias do fim/começo denosso século, particularmente as relacionadas à eletrônica e à informática, abriram novaspossibilidades. As telecomunicações se tornaram indissociáveis dos sistemas informáticos,viabilizando uma marca distintiva da nossa sociedade atual: a comunicação a distância. Épreciso  se  render  à  evidência:  as  “máquinas  de  comunicação”  modificam  nossos  modostradicionais de comunicação e suas formas de leitura e de apresentação, constituindo-seem  um  dos  componentes  de  um  novo  olhar  possível  sobre  o  homem  e  seu  cotidiano  eestabelecendo, desta maneira, outras relações e outras necessidades. As experimentaçõesartísticas  com  as  novas  mídias  digitais  acentuam-se  e  multiplicam-se  nestes  dois  últimosdecênios  com  a  utilização,  pelos  artistas,  de  diversas  formas  de  produção,  distribuição  eintercâmbio, possibilidade ampliada com a recente introdução da web. Vários artistas vêmdesenvolvendo  projetos  nesses  domínios,  que  continuam  a  ser  um  campo  frutuoso  paraexperiências artísticas e representam um dos novos desafios para a arte contemporânea.Sobre  esta  pesquisa  e  o  trabalho  exposto  neste  volume,  cabe  assinalar  que  ambos  seinserem na continuidade de meus trabalhos, com textos, reflexões e produção artística, eque  aqui  reelaborados  compõem  um  conjunto  com  a  intenção  de  melhorar  oentendimento desse processo. São apresentadas imagens de trabalhos, preferencialmentepor mim realizados, visto que esta pesquisa incorre não somente sobre a minha produçãode  natureza  reflexiva,  mas  também  sobre  a  minha  experimentação  artística,  estando  asduas num caminhar conjunto.No  primeiro  capítulo  começamos  a  abordar  as  questões  relativas  às  experimentaçõesartísticas  nas  redes  telemáticas,  com  os  “pequenos  dispositivos”  destinados  ao  grande público, que já permitem uma performance razoável e um acesso simplificado às redes. Autilização desses sistemas começa a ficar acessível ao grande público a partir dos anos 80,penetrando  em  todas  as  camadas  sociais  e  integrando-se  nas  atitudes  mais  banais  donosso  cotidiano.  Discutimos  as  transformações  propiciadas  pelas  conexões  em  redestelemáticas como possibilidade de composição, partilha e veiculação, que são o cenário dereflexão  deste  trabalho.  Começamos  também  a  introduzir  as  minhas  experimentações  eprojetos de natureza telemática.O  segundo  capítulo  tem  como  intenção  apresentar  um  resumo  cronológico  de  algunseventos entre os anos 70 e começo dos anos 90, que utilizaram as telecomunicações eas  redes  telemáticas  para  o  intercâmbio  artístico.  Nesse  capítulo,  escolhemos  nosorientar  preferencialmente  pelos  intercâmbios  via  fax  e  modem,  trazendo  umapanhado geral de algumas dessas manifestações significativas de uma época e de todoum movimento artístico.O  terceiro  capítulo  aborda  algumas  práticas  artísticas  e  formas  de  trabalhos  na  web.  AWorld Wide Web, parte da internet que conheceu a mais forte progressão nestes últimosanos, permitiu aos artistas, galeristas e museus mostrar obras de todos os gêneros, desdereprodução de quadros até ambientes de realidade virtual. Seria ilusório querer recenseartodas  as  formas  de  arte  presentes  atualmente  nas  redes  eletrônicas.  Porém,  de  maneirageral,  não  se  faz  nenhuma  diferenciação  entre  a  catalogação  de  espaços  de  exposiçãoe/ou  de  divulgação  de  trabalhos  artísticos  realizados  em  distintos  suportes  e  mídias  e  olevantamento  dos  casos  em  que  as  redes  eletrônicas  são  os  próprios  espaços  e  mídiasutilizados  para  a  produção  de  eventos  artísticos,  numa  relação  mais  direta  com  a  artetelemática.  Esses  serão  os  tópicos  discutidos,  assim  como  será  apresentada  uma  breverelação de sites de divulgação e de realização de eventos na rede.No quarto e último capítulo iniciamos com uma breve introdução o tema da realidadevirtual, para depois trazer a questão dos ambientes virtuais multiusuário. Em seguida,apresentamos  o  projeto  artístico  Desertesejoem  suas  várias  etapas.  Desertesejoé  umambiente virtual interativo multiusuário para internet construído em VRML que permitea  presença  simultânea  de  até  50  participantes.  O  projeto  explora  poeticamenteextensão  geográfica,  rupturas  temporais,  solidão,  reinvenção  constante  e  proliferaçãode  pontos  de  encontro  e  partilha.  São  espaços  navegáveis  desenvolvidos  em  rotasdistintas  onde  o  participante  trabalha  com  diferentes  pontos  de  vista,  formas  deaproximação  e  caminhos  que  se  entrecruzam  e  se  alternam,  que  se  encadeiam  e  secompõem em diversos percursos oníricos.No CD-ROM que acompanha este trabalho temos o projeto Desertesejoe o site do projetowAwRwT, que podem ser navegados, e ainda apresentações dos meus principais projetosartísticos e instalações interativas de 1990 a 2000.

Modern world has a complex and multidimensional character. This is largely due to such factors as globalization processes that lead to cultural hybridization. The artists who work in this context, in response to its challenges, provide their audience with equally hybrid transmedia forms. They cross the borders of art disciplines as well as the borders between art and existence. Taking the art of Douglas Davis, Sanja Iveković, Antoni Mikołajczyk, Józef Robakowski, Zygmunt Rytka, Anna Konik, and Yumi Machiguchi as examples, the paper presents the artistic tendencies which develop in between various environments, the tendencies within which art takes on nomadic character, resigning from permanent location so as to seemingly become aesthetically homeless. It is in this that art finds its power of character, its clarity of artistic gesture, its energy, values and sense, and-paradoxically-its own place: always in between.

In this paper, Telematic Art is examined to determine its application in creating telematic digital world music ensembles by specific focus on Persian music. The main inspiration in creating the Persian music pieces are from poems of Molana Jalaleding Mohammad Balkhi, known as Rumi, who is one of the greatest Persian mystics. This paper provides background information regarding Persian music, electronic music, Persian electronic music, telematic art, social presence theory, actor network theory and describes step by step process of developing a telematic digital world music ensembles as an experiment. This research involved three groups of artist from different locations, a group of 3D designer who developed 3D environment in Indiana, United State and a group of western acoustic and digital musicians in Indiana, United State and a group of artists in Calgary, Canada who developed set designs, real time video processing and electronic Persian music. This project was developed collaboratively among the entire participating artist. During the process of this research, it became clear that there are existing technology such as Jack Trip, Ableton Live, VDMX, Virtool and Life Size camera system, in use in the current telematic field of practice that could be easily applied without any further alterations where as " how to use these technology in harmony" requires further development.

This essay introduces the notion of “transmusicking,” a turn-of-phrase inspired by the provocative, poetic, and at times utopian-tinged writings of “transarchitect” Marcos Novak, a Professor and Director at transLAB at the University of California, Santa Barbara. In brief, I am less interested here in musicking that uses newer technologies primarily for the creation of conventional musicking products, practices and occasions. I am more interested, instead, in approaches that explore the unique affordances of digital and network technologies. As the prefix trans- implies (from Latin meaning “across, beyond, through”), I am also keenly interested in how these new musicking approaches might be at once a transmutation or transgression of previous conventions and expectations while remaining interwoven within the existing social, cultural, political and commercial matrix.

There is a before and there is an after. Let’s start with the after. Theoutbreak of Covid-19 forced cultural institutions to explore alternative digital spaceswith online exhibits and the use of virtual, augmented, and mixed reality. The educa-tional world, such as colleges and universities, has also had to rethink a new wayof communicating and collaborating. New technologies have re-mediated creatinga different degree of participation and connection. In this essay I will argue, onone side, about the art system some concrete examples of extended reality. On theother hand, through the educational system, I will analyze how the interface betweenteachers and students has radically changed the relationship within an artificial andimmersive environment. During the pandemia we have witnessed both the hybridnature of the spect-actor-in the fruition of the work of art in the museum system, anda convergence towards distance learning where the relationship between teacher andstudent has been rethought with the help of some technological tools (Oculus, GearVR) and distance education services (#iorestoacasa). But it is not the tool that is themain factor of this essay, but its instrumental proxy, that is, the quality (affordance) ofrethinking it in an ecosystemic direction, giving us a different methodology, a choralart (#restacorale) to capture this variation of the Real, re-imagine the imaginary andremix every degree of reality.

Since the start of the Covid-19 pandemic, governments, companies, and institutions across the world have resurrected the ghost of technocratic optimism that dominated the twentieth century. From tele-work to tele-education and tele-health, governments, tech companies, and universities alike are currently espousing digital technologies as the cure for the virus. Even though several communities around the world still have no access to adequate healthcare, education, or information, the fear of an unproductive society has led governments throughout the world to renew their enthusiasm over the power of electronic telecommunication. The initial dreams of a decentralized cyberspace, which emerged from technological experiments in the 1960s, have vanished into thin dust as big tech-companies claim increasing power over our social and economic lives online. The privatized internet has turned telepathy–the ability to think, do, and sense at a distance–into the fundamental fuel of contemporary information capitalism. Given this scenario and considering the current socio-environmental crisis, we must ask ourselves if it is possible to practice telepathy outside of the oppressive market dynamics that dominate the internet today. British artist Roy Ascott and Colombian artist Barbara Santos have both explored the possibilities of telepathy without the internet through their work with Amazonian amerindian communities-at different levels of depth and through radically different journeys, as I will further discuss.

The notion of ‘telepresence’ implies parallel experiences in at least three places simultaneously: a) the space where viewers are physically located; b) per tele-perception in a virtual space; c) per tele-action at the physical locations affected by the data-work (Dixon, 2007). Accordingly, the interface enabling co-presence across physical, technical, and referential boundaries could credibly be termed a ‘medium’ on behalf, precisely, of its mediating agency. Considered from this angle theatrical performance, too, could be considered as an interface allowing for the co-presence of actors and spectators, yet with the added specification that the ‘live’ bodies it relies upon act as ‘overdetermined’ signifiers – thereby even echoing telepresence’s third, proxemic dimension.

Confronting the concepts of ‘telepresence’ and ‘theatre,’ if anything, allows to highlight what anthropologist Bradd Shore calls the human mind’s ecological inclination to fuse a boundless range of unrelated impulses while blurring boundaries of all kinds (1996). When moreover considering the insight yielded by intermedia studies that borders between communicative modes are the product of a similar kind of irreducible flux (see Elleström, 2010), intermedial theatre productions staging the reality of telepresence without allowing its illusionism – like John Jesurun’s Firefall (Phase 1, 2006; Phase 2, 2009) does – thus can help us recalibrating the quality of our thinking.

Through their interconnectedness to the Internet the characters inhabiting Jesurun’s pluri-medial polyphony of discordant impulses and fragmented narratives all function by virtue of trying to find reason in randomness. Interpretation here, then, is not simply a matter of organizing and stratifying the different layers of meaning we are bombarded with. Hierarchical thinking, after all, is but the anxiety-driven by-product of “situations of high task uncertainty” (Evans, 2005). Jesurun’s Firefall instead ushers its ‘users’ to embrace the related notion of apophenia – i.e. discerning patterns in random data – and so sidestep surface meanings in favour of more fundamental strategies of signification (see Hayles, 2012). 



WORKS CITED:

Dixon, Steve. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge: MIT Press, 2007.

Elleström, Lars. “The Modalities of Media: A Model for Understanding Intermedial Relations.” Media Borders, Multimediality and Intermediality. Ed. Lars Elleström. Basingstoke: Palgrave Macmillan, 2010. 11-48.

Evans, John H. “Stratification in Knowledge Production: Author Prestige and the Influence of an American Academic Debate.” Poetics 33 (2005): 111-133. 

Hayles, N. Katherine. How We Think: Digital Media and Contemporary Technogenesis. Chicago: Chicago University Press, 2012.

Shore, Bradd. Culture in Mind: Cognition, Culture, and the Problem of Meaning. Oxford: Oxford University Press, 1996.

A raíz de la pandemia causada por el Covid-19, múltiples instituciones alrededor del mundo han resucitado el fantasma del optimismo tecnocrático que dominó el siglo XX. Gobiernos, hospitales, universidades y museos en varios países han adoptado y promueven los mantras de las empresas de tecnología, desde el tele-trabajo hasta la tele-educación y la tele-medicina, como la cura para el virus. Aunque varias comunidades en el mundo aún no tienen acceso a información, atención médica, ni educación pública adecuadas, el pánico socioeconómico que genera la improductividad debido a la cuarentena ha renovado un entusiasmo público por el poder de las telecomunicaciones electrónicas. Sin embargo, los sueños de un ciberespacio descentralizado, que surgieron en la década de 1960, se han desvanecido en las nubes de las grandes empresas tecnológicas del siglo XXI, las cuales reclaman un control cada vez mayor sobre nuestras vidas sociales y económicas en línea. La privatización y comercialización de la internet y los datos que viajan a través de su infraestructura han convertido la telepatía-la capacidad de pensar, hacer y sentir a distancia-en el combustible fundamental del capitalismo informático que hoy domina el mundo. Ante este escenario y considerando la actual crisis socio-ambiental, debemos preguntarnos si es posible practicar la telepatía fuera de las dinámicas opresivas que hoy dominan la internet.

TimeTravel is a project to investigate creative real-time music and imagery over internet. The aim is to let audiences and musicians in different physical locations establish a playful audiovisual communication based on the inherent musicality of voices and landscapes. In tune in, arctic Tromsø and tropical Singapore are connected in an interactive installation running over three days. The musicians at both locations engage in a series of open rehearsals, creating layers of sonic material, all coming together at the performance ‘exit concert’ on Thursday 2 February at GMT 13.00 (9 pm in Singapore, 2 pm in Tromsø).

It is part of a 3-year research where we aim to design and research online expressivity; that is, participatory telematic audio and video frameworks with both physical and virtual components, involving technologies for real-time analysis and synthesis (MaxMSPJitter), streaming (UltraVideo, JackTrip) and diffusion (Spat~) in order to create multisensorial interactive media art experiences.

TimeTravel is a collaboration between Tromsø Music Conservatory, Arctic Sinfonietta and Nanyang Technological University. It is supported in Norway by the Cultural Council, Sparebank Gift Fund (Gavefund), University of Tromsø, Verdione, and in Singapore by NTU’s Innovation Centre and School of Art, Design, Media, and a National Research Foundation grant.

Résumé. Le projet « Le Royaume des Ombres » consiste à réaliser une lecture de textes en téléprésence par des bibliothécaires disséminés dans un réseau de bibliothèques municipales. L'article présente l'appropriation du projet par les bibliothécaires, les étapes de répétition, les modalités de participation du public, les retours sur l'expérience et les questions soulevées en vue d'une poursuite du projet.

Mots-clés. Lecture en réseau, téléprésence, réalité mixte

Abstract. « Shadows'Realm » project consists in making a teleshared public reading by librarians through a network of local public libraries. The article presents how librarians entered in the project, how they rehearsed, the modalities of audience participation, experiment feedbacks and questions for future developments.

O aplicativo Karen, desenvolvido pelo coletivo britânico Blast Theory se vale da comunicação telemática. Ao problematizar tanto a figura do artista na sua produção quanto a relação obra/público, o resultado é um curioso trabalho artístico onde a interatividade é protagonista.

ISBN: 2176-610x

Mon projet de recherche porte sur l’étude d’un moment particulier de l’histoire des arts médiatiques et des réseaux, celle de la création artistique sur Minitel en France dans les années 1980. Celle-ci s’est déroulée sur une période assez courte, majoritairement entre 1983 et 1989, au moment où le Minitel se met en place et prend son essor. Si l’art télématique a existé dans divers pays, c’est en France qu’il s’est le plus développé. Imaginé sous Valéry Giscard-d’Estaing dès 1978, le Minitel est lancé par les PTT en 1983 avec un annuaire en ligne. Il est ensuite ouvert dès 1984 aux opérateurs privés. Dans une volonté de le rendre grand public, un terminal est alors fourni gratuitement à chaque foyer. Par son large déploiement, des artistes y ont vu la possibilité d’atteindre un nouveau public directement depuis chez lui. Deux expositions ont également joué un rôle fondamental dans le développement des expériences artistiques télématiques en France au début des années 1980. Il s’agit de l’exposition Electra organisée fin 1983 et début 1984 au Musée d’art moderne de la Ville de Paris et de l’exposition Les Immatériaux qui a eu lieu en 1985 au Centre Pompidou. C’est par l’étude de ces deux expositions que débuteront mes recherches avant de se porter sur d’autres manifestations et d’autres projets avec l’ambition de reconstituer l’histoire importante de l’art télématique en France dans les années 1980.

This research develops a creative process for integrated art creation using a combination of collage and storyboarding as a trans-methodological approach in the gathering and organization of artistic data. Collage/storyboarding allows the artist to organize both visual and audio data in such way that everything can be seen, heard and comprehended in a single digital collage. This unified form of realization brings an understanding of the whole to the artist in an of age media overload.

This paper articulates the design for the first stage of INTIMAL: a physical/virtual embodied interactive system for relational listening in the context of human migration, set within the artistic practice of improvisatory telematic sonic performance. Informed by the Deep Listening experiences of nine Colombian migrant women in Europe and integrating Embodied Music Cognition Methods, INTIMAL draws upon sensorial experience in dreams, virtual spaces, and physical spaces to develop a holistic understanding of the body as an interface that keeps one's memory of place. Technologies are intended to be used as mediations aiding the co-relations in listening for the sensing, processing and retrieval of an oral archive of other women's testimonies from the Colombian civil war, while improvisers' body movements, voices, and spoken words resonate with these voices. The author suggests how INTIMAL system could act as catalyst for creating new layers in the reconstruction and transformation of embodied memory, opening paths for individual and collective healing of feelings associated to the migratory experience and the armed conflict.

The article addresses a shift observable in recent artistic practices that relate to technology and the sciences, and the merger of technological and biological matter. This shift is described along a selection of the author's artistic works from the 21st century, which are paralleled with Roy Ascott's visionary writings from the last decades. This article examines a few aspects of bio + technological artistic practice: how experimental art, practices, and thinking address the networked world; how technology-infused thinking and technology-enabled connectivity have gradually become our incontrovertible reality; and, how it has impacted our perception of nature and the way we relate to the biological world.

The article describes how the author became interested in network performance and its development since the 1980s. Based on experiences with tools and processes, she finally created Waterwheel, an Internet platform dedicated to water as a theme and metaphor. Taking some performances in Waterwheel as case studies, she tries to list the parameters that make networked performance a specific genre.

published  in January 2014 https://periodicos.ufba.br/index.php/mapad2/article/view/10103/7234

INTIMAL is a physical-virtual system for relational listening, exploring the role of the body as interface that keeps memory of place in migratory contexts. The system is developed to integrate the body movements of performers (and their voices) with an oral archive. The system has been informed and tested by nine Colombian migrant women in Europe in a telematic performance between the cities of Oslo, Barcelona and London. In the performance a “complex narrative” emerged, for both the improvisers and the audiences. In this paper, we describe the conditions of the narrative environment, and the embodied expressions that emerged. We reflect on how this distributed embodied expression—through technological mediated sound and movement interactions—might further aid processes of collective remembering and catharsis, in a context of conflict and gendered migration.

Electronic Communion intends to be a reflection on telepresence and its performative potential through the analysis of artistic projects and/or events where the subject was discussed, approached and/or practiced. Combining both personal notes and statements from different sources this text dissects a current complex tendency. From the potential of the electronic mediation surfaces as the environment of performativity to what remains important to convey in translating the electronic communion that frames the cultural shift in our agency, presence, relation and work methodologies.

Can an ecological perspective provide cues for hybrid arts practice? Over the last fifteen years, Bonemap’s novel collaborative method has produced hybrid and genre independent works within the broad field of contemporary arts. Their specific creative methodology relates to a practice and process imbued with an ecological perspective. The approach incorporates a multimodal and intermedial praxis that expands static representations of human creative environments and genres. Using flux, improvisation, participatory and responsive strategies to harness generative form it is argued that Bonemap work articulate a metaphor of fluid hybridisation.

The authors cite the creative works of Bonemap and other influencers to approach contemporary arts practice with an ecological perspective producing evidence of a fluid hybridisation of artistic genre. Bonemap’s key methodological operations are responsive through the embodiment of ecological perceptions, improvisatory through the virtual and the visceral, and participatory through the experience of the implied and explicit. Practiced as spatial concepts, that inform methodological approaches to practice, Bonemap's ecological and artistic concerns consider hybridity and intermediality as linking materiality and immateriality. The evidence considers the hybrid materiality of ‘unknowing’ and ‘ephemerality’ within creative research that further challenges conventions of knowledge creation and the categorization of form. Bonemap’s methods are shown as moving towards a proposal for fluid hybridity that is set adrift in the sublime aim to articulate an ecological understanding of interconnected meaning and associations as a unique poetic vessel that bridges the interstices of genre.

Can an ecological perspective provide cues for hybrid arts practice? Over the last fifteen years, Bonemap's novel collaborative method has produced hybrid and genre independent works within the broad field of contemporary arts. Their specific creative methodology relates to a practice and process imbued with an ecological perspective. The approach incorporates a multimodal and intermedial praxis that expands static representations of human creative environments and genres. Using flux, improvisation, participatory and responsive strategies to harness generative form it is argued that Bonemap work articulate a metaphor of fluid hybridisation. The authors cite the creative works of Bonemap and other influencers to approach contemporary arts practice with an ecological perspective producing evidence of a fluid hybridisation of artistic genre. Bonemap's key methodological operations are responsive through the embodiment of ecological perceptions, improvisatory through the virtual...

This paper articulates the design for the first stage of INTIMAL: a physical/virtual embodied interactive system for relational listening in the context of human migration, set within the artistic practice of improvisatory telematic sonic performance. Informed by the Deep Listening experiences of nine Colombian migrant women in Europe and integrating Embodied Music Cognition Methods, INTIMAL draws upon sensorial experience in dreams, virtual spaces, and physical spaces to develop a holistic understanding of the body as an interface that keeps one's memory of place. Technologies are intended to be used as mediations aiding the co-relations in listening for the sensing, processing and retrieval of an oral archive of other women's testimonies from the Colombian civil war, while improvisers' body movements, voices, and spoken words resonate with these voices. The author suggests how INTIMAL system could act as catalyst for creating new layers in the reconstruction and transf...

LoLa is a cutting-edge technology that enables low latency, real-time collaborations across vast distances using high-bandwidth, low-jitter networks. It has the capacity to transform how music is made and experienced. It has been utilized on a relatively small scale to date, primarily for teaching and performances associated with music colleges and concert halls. In this article we discuss various ways in which LoLa technology is “good enough” by describing examples of recent networked music performances “anchored” at Edinburgh Napier University, Scotland. We discuss the ways in which processes and outcomes were “good enough” for the sound engineer, participating musicians, and audiences. We then consider ways in which this work can be understood to have a social purpose and suggest further opportunities for putting this immensely powerful technology to use for the greater good. We argue that all who can utilize the potential of this technology have a responsibility to improve lives today and into the future.

https://commons.library.stonybrook.edu/jonma/vol2/iss1/5

The author presents a concept of ritualized performance as an ideal way to approach the telematic medium, arguing that many longstanding performance rituals share characteristics that can be exploited in networked performance. The author situates these ideas in relation to his project Spatia, seeking to illustrate how the model of ritualized performance can be applied to the networked medium.

This paper summarizes the author's thesis investigating intercultural creativity and cognition in networked musical improvisation. The research is situated amongst scholarly studies of tele-musical interaction, highlighting the technological agenda that drives this enquiry and the need for a deeper examination of the experiential qualities of networked improvisatory practice. The advantages of distributed cognition as a theoretical perspective is considered in relation to evaluation of a preliminary pilot study. Incidences of creative interaction reveal the cognitive strategies that musicians employ to navigate the dispersed non-visual improvisatory-networked-experience.

PRADO, Gilbertto. Arte telemática: dos intercâmbios pontuais aos ambientes virtuais multiusuário, Itaú Cultural, São Paulo, 2003. ISBN 85-85291-40-0 “As máquinas tecnológicas de informação e de comunicaçãooperam no núcleo da subjetividade humana, mas não apenas noseio das suas memórias, da sua inteligência, mas também da suasensibilidade, dos seus afetos, dos seus fantasmas inconscientes.”Félix GuattariO recente progresso das novas tecnologias apresenta um grande desafio para os artistasenvolvidos com essas vertentes e profissionais das áreas correlatas. Tal fato se dá emvirtude da demanda que essas tecnologias apresentam de um trabalho integrado entrediferentes áreas de atuação, especialização e conhecimento. Deve-se levar emconsideração que essa dinâmica de atuação/participação de áreas da tecnociência emprodutos de natureza artística é resultante de um conjunto de forças que contém, entreseus vetores, a hibridização e o contato com outros campos de ação e conhecimento.As artes, as ciências e as técnicas entretêm relações de interdependência que possibilitamque as invenções ou mutações tecnológicas façam emergir novas formas artísticas. Se atecnologia, com seus avanços, não inventa necessariamente novidades, ela transforma ascondições de produção, modificando assim o seu status. As tecnologias do fim/começo denosso século, particularmente as relacionadas à eletrônica e à informática, abriram novaspossibilidades. As telecomunicações se tornaram indissociáveis dos sistemas informáticos,viabilizando uma marca distintiva da nossa sociedade atual: a comunicação a distância. Épreciso se render à evidência: as “máquinas de comunicação” modificam nossos modostradicionais de comunicação e suas formas de leitura e de apresentação, constituindo-seem um dos componentes de um novo olhar possível sobre o homem e seu cotidiano eestabelecendo, desta maneira, outras relações e outras necessidades. As experimentaçõesartísticas com as novas mídias digitais acentuam-se e multiplicam-se nestes dois últimosdecênios com a utilização, pelos artistas, de diversas formas de produção, distribuição eintercâmbio, possibilidade ampliada com a recente introdução da web. Vários artistas vêmdesenvolvendo projetos nesses domínios, que continuam a ser um campo frutuoso paraexperiências artísticas e representam um dos novos desafios para a arte contemporânea.Sobre esta pesquisa e o trabalho exposto neste volume, cabe assinalar que ambos seinserem na continuidade de meus trabalhos, com textos, reflexões e produção artística, eque aqui reelaborados compõem um conjunto com a intenção de melhorar oentendimento desse processo. São apresentadas imagens de trabalhos, preferencialmentepor mim realizados, visto que esta pesquisa incorre não somente sobre a minha produçãode natureza reflexiva, mas também sobre a minha experimentação artística, estando asduas num caminhar conjunto.No primeiro capítulo começamos a abordar as questões relativas às experimentaçõesartísticas nas redes telemáticas, com os “pequenos dispositivos” destinados ao grande público, que já permitem uma performance razoável e um acesso simplificado às redes. Autilização desses sistemas começa a ficar acessível ao grande público a partir dos anos 80,penetrando em todas as camadas sociais e integrando-se nas atitudes mais banais donosso cotidiano. Discutimos as transformações propiciadas pelas conexões em redestelemáticas como possibilidade de composição, partilha e veiculação, que são o cenário dereflexão deste trabalho. Começamos também a introduzir as minhas experimentações eprojetos de natureza telemática.O segundo capítulo tem como intenção apresentar um resumo cronológico de algunseventos entre os anos 70 e começo dos anos 90, que utilizaram as telecomunicações eas redes telemáticas para o intercâmbio artístico. Nesse capítulo, escolhemos nosorientar preferencialmente pelos intercâmbios via fax e modem, trazendo umapanhado geral de algumas dessas manifestações significativas de uma época e de todoum movimento artístico.O terceiro capítulo aborda algumas práticas artísticas e formas de trabalhos na web. AWorld Wide Web, parte da internet que conheceu a mais forte progressão nestes últimosanos, permitiu aos artistas, galeristas e museus mostrar obras de todos os gêneros, desdereprodução de quadros até ambientes de realidade virtual. Seria ilusório querer recenseartodas as formas de arte presentes atualmente nas redes eletrônicas. Porém, de maneirageral, não se faz nenhuma diferenciação entre a catalogação de espaços de exposiçãoe/ou de divulgação de trabalhos artísticos realizados em distintos suportes e mídias e olevantamento dos casos em que as redes eletrônicas são os próprios espaços e mídiasutilizados para a produção de eventos artísticos, numa relação mais direta com a artetelemática. Esses serão os tópicos discutidos, assim como será apresentada uma breverelação de sites de divulgação e de realização de eventos na rede.No quarto e último capítulo iniciamos com uma breve…

An interactive video installation presented at the HopKins Black Box performance laboratory in January 2019, aisthēsis draws on the Japanese concept of ma, or the potential existing in the space between, and the embodied dance practice of Contact Improvisation to question non-tactile experiences intimacy, connection, and touch. By engaging the audienceparticipants in acts of disembodied physical connection through live-feed video projections, aisthēsis investigates the ways in which intimacy, connection, and touch are complicated when the body is not physical present. Through telematics, which uses digital technology to connect individuals in two separate locations so that they appear to be physically present in the same space, aisthēsis invited audience-participants to interact through overlapping projected images of their technologically mediated selves. Physically located about fifteen feet apart on either side of a large center screen, each audience-participant stood alone in their own space in front of a live-feed webcam. The images of each individual were then projected together, connecting them on the center screen. This configuration allowed each individual to see both the physical body of their partner along with their telematically projected selves, creating a sense of disembodied-embodiment as they interacted in the center space. Through this digitally mediated connection, audience-participants were able to perform acts of touch in real-time, creating what Mark Hansen describes as vision enabling an extension of touch "beyond the boundaries of the skin" 1. Through the co-functioning nature of the senses of sight and touch, aisthēsis employs what Laura Marks describes as "haptic visuality," in which "the eyes themselves function like organs of touch" 2. According to the OED Online, touch is defined as the "contact with, and related senses [emphasis added] in which physical contact is the dominant idea," and is not restricted to its usually association with tactile, skin-on-skin contact, but works in conjunction with the other bodily sense. Through this co-functioning nature of the senses of sight and touch, aisthēsis invites an alternate sensory experience of what I define as virtual touch, an embodied experience that transcends the presence of physical contact. This article describes and analyzes the co-functioning nature of the visual and tactile senses in aisthēsis, creating an affective experience of virtual touch. In addition to descriptive analysis, I incorporate audience-participant feedback, photographs, and short videos to further examine the ways in which aisthēsis engaged the audience-participants' visual and tactile senses. The use of live-feed video and telematics allowed the audience-participants to explore virtual touch through visual-physical connections, creating tactile sensations elicited through the sense of sight. In this way, aisthēsis invited participants to see through their skin and feel through their eyes, blurring the sensory boundaries of touch and sight.