Is There Love in the Telematic Embrace?

Ascott, Roy

doi:10.2307/777114

Cited by 9 publications

(7 citation statements)

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“…This telematic paradigm prompted Roy Ascott's famous question in the title of his 1990 article 'Is There Love in the Telematic Embrace?' (Ascott 1990). Ascott's conundrum has been explored by many artists and performers utilising telematics, such as Sita Popat and her Satorimedia company.…”

Section: • (Above) Andrea Zapp's Transformative Scenographic Installamentioning

confidence: 93%

Uncanny Interactions

Dixon¹

2006

Performance Research

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Section: • (Above) Andrea Zapp's Transformative Scenographic Installamentioning

confidence: 93%

Uncanny Interactions

Dixon¹

2006

Performance Research

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“…As it has been so poignantly asked: 'Is there love in the telematic embrace?' (Ascott 1990) This performance makes use of a dramaturgic strategy in which text, actions and media machines, as well as the actions of the audience, are involved as elements of equal importance.…”

Section: Program Textmentioning

confidence: 99%

Extended theatre composition in telematized environments

Petersen

2007

Technoetic Arts

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In the pursuit of a dramaturgy of telematics as a compositional practice, the author builds a position on technology as externalized technique, develops a dramaturgic strategy with notions of an extended theatre practice and reports on a realized telematized performance where a practical implementation was explored.The theatrical site is viewed as a construct of attention, generated by the performers through the performance composition. The composition determines the audience experience, orchestrated by how the construction of the site manages their perspectives, and how the performers are situated in the 'consciousness site' of the audience.In the performed event the performers articulate as a collective extended entity, incorporating the transformation of the performance site via the articulation strategies implemented in the staging. Telematics is argued to be a technology facilitating specific modes of 'thinking', generating specific modes of actions and presence, which enable new performance sites and new modes of situating performance. Theatre as a site -situated thinking in practiceIn the pursuit of a dramaturgy of telematics as a compositional practice, the author builds a position on technology as externalized technique, develops a dramaturgic strategy with notions of an extended theatre practice and reports on a realized telematized performance where a practical implementation was explored.The theatrical site is viewed as a construct of attention, generated by the performers through the performance composition. The composition determines the audience experience, orchestrated by how the construction of the site manages their perspectives, and how the performers are situated in the 'consciousness site' of the audience.In the performed event the performers articulate as a collective extended entity, incorporating the transformation of the performance site via the articulation strategies implemented in the staging. Telematics is argued to be a technology facilitating specific modes of 'thinking', generating specific modes of actions and presence, which enable new performance sites and new modes of situating performance. 151 TA 5 (3) 151-170

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“…Nesse caso, não só o fruidor se vê alterado ao passar pela experiência interativa, mas também a própria estrutura física da obra é redimensionada, reformulada, atualizada. Uma das obras mais conhecidas de Rokeby, Very Nervous System (1986-1990, visa produzir acontecimentos sinestésicos capazes de extrair a poética da instalação (espaço e tempo como pressupostos sensoriais da ocorrência dos objetos para nós). Dito de outro modo, a obra de Rokeby tenta atualizar formas que flutuam livremente no espaço e no tempo a partir de propostas sensorias que delimitam o espaço e o tempo da ocorrência dos objetos para nós (GUIMARÃES, 2002b).…”

Section: Interfaces Corpo-máquinaunclassified

A participação do corpo nas experiências artísticas digitais

Marques

2009

Rumores

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Este artigo pretende mostrar que a participação do corpo nas experiências artísticas digitais requer uma redefinição da problematização da experiência estética mediada pela tecnologia. Argumentamos que esta última está ligada à descoberta e à reconfiguração do corpo em sua constante experimentação do mundo, de si mesmo e do outro. Nosso objetivo é apresentar, no contexto de experiências artísticas que utilizam instrumentos tecnológicos, algumas interações entre corpo/máquina e corpo/objetos mediadores que podem contribuír para a criação de experiências estéticas tecnologicamente mediadas. Tais dinâmicas são capazes de transformar o corpo (suas imagens, sensações e movimentos) em possibilidades de atualização dos modos de nos transformarmos e de conhecermos o mundo e os outros.

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Is There Love in the Telematic Embrace?

Cited by 9 publications

References 0 publications

Uncanny Interactions

Uncanny Interactions

Extended theatre composition in telematized environments

A participação do corpo nas experiências artísticas digitais

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