Chapter 17, terms

Is artistic work that incorporates telecommunications technologies truly engaging and of what quality? Well, this matters on the viewer/audience. Roy Ascott thought that telematic art encourages the artist to assume the role of the facilitator, rather than be a sole arbiter of the artwork’s creation. This empowers the participant, and lets the viewer think creatively. When I read this, I thought about how viewers experience mediums differently. Since I love sports and film, I like to watch documentaries such as 30 for30 that combine the two elements. My friend and I always conflict because she only watches scary movies and has no interest in watching anything that deals with sports. “Content is created rather than received.” This brings up the concept of interactive vs. reactive. People respond to messages differently. Interactivity is much more engaging that reactivity. When you are interacting, you are actively involved and thinking about a situation. Reactions seem to be more spontaneous and quick thinking. For example, if someone randomly offers me a job and I quickly say no or yes, that is a reaction. But, if I speak to the person about the job and the pros and cons to see if I would be fit for the position or not, that is interactivity. Both interactivity and reactivity can be positive or negative.

*The Digital Performance Archive (p. 423) - Recorded more telematically related events than any other form of digital performance. Examples: The Electronic Disturbance, Projections were sent via the Internet from each venue to the two others enabled company members to perform as a group. The DPA was an outcome of an Arts and Humanities Research Board production and takes reserarch from live theatre and dance productions that incorporated digital media, to cyberspace interactive dramas and web-casts. The project led to the publication of our reading by Steve Dixon. The physical DPA is a video and CD-ROM archive, which also contains some printed material such as press cuttings and supporting information.

*Kaleidoscopic effects  (p. 428) - changing form, pattern, and color, continually shifting from one set of relations to another. Featured in many video conference and stage performances of the 2000's.

*Telematic Collaboration (p. 429) - enable real-time audiovisual conjuctions between artists and performers both in the private context of process-based development work and rehearsals andin the public context of final performances. It can equally involved partnerships with audience members as well as with other artists or remote company members.

*Videoconferencing (p. 430) - set of telecommunication technologies which allow two or more locations to communicate simultaeos two-way video and audio transmissions.

*Le Sang Des Reseaux (p. 425) - Gesture-oriented dance event that integrates motion-sensing interactive systems, video projection, dance and electroacoustics with a telematic link between three groups of performers in different spaces.