Is There Love in the Telematic Embrace?

Ascott, Roy

doi:10.1080/00043249.1990.10792697

Cited by 41 publications

(12 citation statements)

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“…In an article, telematic arts pioneer Roy Ascott answered his titular question 'Is there Love in the Telematic Embrace?' very affirmatively (Ascott, 1990); in 2002 Stephen Wilson called telepresence the 'major goal of telecommunications in both research and art' (Wilson, 2002: 526). Meanwhile, Oliver Grau concluded that in Paul Sermon's Telematic Dreaming (1991) installation, where remote participants encounter one another via projections on beds in different spaces, a feeling of astounding nearness arises … many visitors seize the opportunity for uninhibited mischief and make virtual seductive advances, indulge in intimacies or even come to blows … the restraints that reality imposes on us are lifted and the actual consequences of our actions removed.…”

Section: Virtually Touching: Phenomenological Aspects Of Telepresencementioning

confidence: 99%

Breaking the fifth wall

Dixon,

Sermon

2024

Adaptation and Resilience in the Performing Arts

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Breaking out of the box(es)Traumatic times have heralded new directions and forms of art, such as the development of the twentieth-century avant-garde movements of Constructivism, Bauhaus, Dada and Surrealism in the years immediately following World War I. Whether the coronavirus (COVID-19) pandemic will bring about comparable artistic paradigm shifts remains to be seen. But at moments of historical crisis, artists look to transform the harsh realities of the day into representations of a quite different and more visionary future. As the pandemic of the early 2020s divided people physically, artists sought new ways to bring them back together, strengthen their bonds and establish new creative modalities for their interactions.One such initiative was Collaborative Solutions for the Performing Arts: A Telepresence Stage, led by telematic artists and researchers Paul Sermon (Principal Investigator, University of Brighton, UK) and Steve Dixon (Co-Investigator, LASALLE College of the Arts, University of the Arts Singapore), together with research consultants Sita Popat Taylor, Satinder Gill and Randall Packer. It responded to the crisis in the live performing arts following the closure of theatres and the inability of performers to devise, create and rehearse together in person during lockdowns. The Telepresence Stage project countered both by providing a new and highly 'theatrical' stage platform for live performances online, and by designing visually immersive stage settings where remote individual performers could meet, rehearse and perform together in a digital 'third space' using videoconferencing tools.

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Section: Virtually Touching: Phenomenological Aspects Of Telepresencementioning

confidence: 99%

Breaking the fifth wall

Dixon,

Sermon

2024

Adaptation and Resilience in the Performing Arts

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“…Kompozytor Sebastian Dembski w swoim utworze nawiązał do tradycji związanej ze sztuką telematyczną [7]. W pierwszej części swojej kompozycji zaprosił słuchaczy do interaktywnej gry nawiązującej formą do znanego programu rozrywkowego Milionerzy, w ramach której odpowiadali oni na zadawane pytania.…”

Section: Teleobecnośćunclassified

�Maszyna Koncertowa� w interaktywnych transmisjach wydarze� muzycznych

Skorupa

G�owiak

Zapa�a

2022

Post�py W In�ynierii D�wi�ku I Psychoakustyce

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Projekt "Maszyna Koncertowa" jest otwartą platformą umożliwiającą tworzenie autorskich, telematycznych wydarzeń muzycznych za pośrednictwem sieci komputerowych. Narzędzie to pozwala na włączenie do klasycznej formy transmisji audiowizualnej interakcji pomiędzy odbiorcą wydarzenia a jego twórcą. Odbywa się to w efekcie udostępnienia uniwersalnego, indywidualnie wykreowanego interfejsu zbliżonego w swojej formie do prostego sieciowego kontrolera MIDI. W ramach artykułu twórcy omówią zasady działania portalu, sposoby komunikacji z zewnętrznym oprogramowaniem, szczegóły interakcji oraz praktyczne metody zastosowania "Maszyny Koncertowej" na przykładzie koncertu inaugurującego.

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“…Those sites and forums are using the Net itself as a storage tool. The user has access and contributes to some data situated in different geographical sites and at different moments: a notion that has been theorised through noosphere (Teihard de Chardin 1959) or cyberspace (Ascott 1990). It is probably the best answer given to the evanescence of data residing on the Internet.…”

Section: Networkmentioning

confidence: 99%

(Re) Presenting electroacoustic music

Couprie

2006

Org. Sound

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Art always does more than subsist upon technical progress; for centuries its practice has merged with it, and we should never forget that the first meaning of the word art was technê. However, never before has the relationship between art and technology raised so many questions and provoked so much misunderstanding. As a matter of fact, at the same time as the frontiers of technique continue to recede, the frontiers of art seem more and more difficult to grasp. (Couchot and Hillaire 2003: 15)

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Is There Love in the Telematic Embrace?

Cited by 41 publications

References 0 publications

Breaking the fifth wall

Breaking the fifth wall

�Maszyna Koncertowa� w interaktywnych transmisjach wydarze� muzycznych

(Re) Presenting electroacoustic music

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