90:, the artists produced composite images of participants, enabling an interactive dance concert amongst geographically disparate performers. An estimated audience of 25,000 saw bi-coastal discussions on the impact of new technologies on art, and improvised, interactive dance and music performances that were mixed together in real time creating a live composited image allowing the East and West performers to share and co-inhabit the entire video screen. These first satellite works emphasized the primacy of process that remained central to the theory and practice of telematic art.
105:'s Infomedia Notepad System, which made it possible for the users to retrieve and add information stored in the computer’s memory. This made it possible to interact with a group of people to make "aesthetic encounters more participatory, culturally diverse, and richly layered with meaning". Ascott did more similar projects like
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sees the telematic art form as the transformation of the viewer into an active participator of creating the artwork which remains in process throughout its duration. Ascott has been at the forefront of the theory and practice of telematic art since 1978 when he went online for the first time,
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from 1983, which allowed Ascott and other artists to participate in collectively creating texts to an emerging story by using computer networking. This participation has been termed as 'distributed authorship'. But the most significant matter of this project is the
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emphasized the idea of telecommunications as an artistic medium in his essay 'The Radio as an
Apparatus of Communication'. In this essay, Brecht advocated the two-way communication for radio to give the public the power of
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networks as their medium. Telematic art challenges the traditional relationship between active viewing subjects and passive art objects by creating interactive, behavioural contexts for remote aesthetic encounters.
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In 1977, 'Satellite Arts
Project' by Kit Galloway and Sherrie Rabinowitz used satellites to connect artists on the east and west coast of the United States. This was the first time that artists were connected in a
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of the artwork and the way it breaks the barriers of time and space. In the late 1980s, the interest in this kind of project using computer networking expanded, especially with the release of the
150:, and Gilbertto Prado, several French artists made some collective art experiments using the Minitel, among them Jean-Claude Anglade, Jacques-Elie Chabert, Frédéric Develay, Jean-Marc Philippe,
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Although Ascott was the first person to name this phenomenon, the first use of telecommunications as an artistic medium has occurred in 1922 when the
Hungarian constructivist artist
605:(with articles in English by Roy Ascott, Carlos Fadon Vicente, Mathias Fuchs, Eduardo Kac, Paulo Laurentiz, Artur Matuck, Frank Popper, and Stephen Wilson) Paris, Editions du CERAP.
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in 1994. This enabled a different style of telematic art than the point-to-point technologies to which other locations were limited in the 1970s and 1980s. As reported by
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591:(Editor and Korean translation: YI, Won-Kon), (Media & Art Series no. 6, Institute of Media Art, Yonsei University). Yonsei: Yonsei University Press
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that are based highly form viewer polls incorporate telematic art. This type of consumer applications is now grouped under the term "
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for the first time in 1978 when he organized a computer-conferencing project between the United States and the United
Kingdom called
370:"Chronologie historique résumée d'échanges artistiques par télécommunications. Les précurseurs, jusqu'en 1995, avant l'Internet"
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154:, Marc Denjean and Olivier Auber. These mostly-forgotten experiments (with notable exceptions like the still-active
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Loeffler, Carl Eugene; Ascott, Roy (1991). "Chronology and
Working Survey of Select Communications Activity".
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57:. This work questioned the idea of the isolated individual artist and the unique art object. In 1932,
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Leonardo (Journal of
Leonardo/ISAST, the International Society for the Arts, Sciences and Technology)
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598:. (Japanese trans. E. Fujihara). A. Takada & Y. Yamashita eds. Tokyo: NTT Publishing Co., Ltd.
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Telematic art is now being used more frequently by televised performers. Shows such as
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Telematic
Embrace: Visionary Theories of Art, Technology, and Consciousness.
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Telematic
Embrace: Visionary Theories of Art, Technology, and Consciousness
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From
Cybernetics to Telematics: The Art, Pedagogy, and Theory of Roy Ascott
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Image-la-Vallée, vitrail monumental dessiné collectivement par minitel
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has authored several historical accounts of telematic art, including
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Action télématique hybridant des installations radio-astronomiques
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265:"László Moholy-Nagy. EM 2 (Telephone Picture). 1923 | MoMA"
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Tele-Agency: Telematics, Telerobotics, and the Art of Meaning.
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is a descriptive of art projects using computer-mediated
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Utilisation du réseau de préfiguration Minitel de Vélizy
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in 1982. An important telematic artwork of Ascott is
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organizing different collaborative online projects.
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Mutations de l’image: Art Cinéma/ Vidéo/ Ordinateur
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400:. In Klonaris, Maria; Thomadaki, Katerina (eds.).
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228:. Berkeley, CA: University of California Press.
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530:Auber, Olivier (1990) . "Poietic Generator".
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404:(in French). Paris: Astarti. pp. 52–57.
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28:was first coined by Simon Nora and
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395:"Art, réseaux, télécommunications"
109:which was part of Robert Adrian’s
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339:"telematic connections: timeline"
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419:(in Portuguese). Archived from
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435:Anglade, Jean-Claude (1987).
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482:Philippe, Jean-Marc (1987).
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375:(in French). Archived from
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612:Art Journal, issue 2 2000.
467:Develay, Frédéric (1984).
174:Pop culture and mass media
86:way. With the support of
608:Shanken Edward A. 2000,
601:O'Rourke, K., ed. 1992.
393:O'Rourke, Karen (1994).
269:The Museum of Modern Art
547:Auber, Olivier (1997).
343:telematic.walkerart.org
515:Denjean, Marc (1984).
45:Pioneering experiments
623:Telematic Connections
111:The World in 24 Hours
469:Art Accès, a journal
220:Ascott, Roy (2003).
126:in the early 1990s.
115:La Plissure du Texte
196:Planetary Collegium
569:Ascott, Roy(2003).
415:Prado, Gilbertto.
222:Shanken, Edward A.
55:Telephone Pictures
51:László Moholy-Nagy
21:telecommunications
594:Ascott, R. 1998.
587:Ascott, R. 2002.
583:978-0-520-21803-1
575:Edward A. Shanken
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201:Poietic Generator
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134:Thanks to the
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103:Jacques Vallée
64:representation
59:Bertold Brecht
53:made the work
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638:Digital art
603:Art-RĂ©seaux
152:Fred Forest
144:Don Foresta
207:References
184:transmedia
107:Ten Wings,
95:telematics
38:Roy Ascott
30:Alain Minc
26:Telematics
303:(2): 236.
84:telematic
632:Category
500:(1982).
190:See also
164:Facebook
162:such as
224:(ed.).
168:Twitter
136:Minitel
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573:(Ed.)
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553:SPEED
398:(PDF)
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579:ISBN
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