telematic (7)


LAND V.0 is a project that investigates physical versus virtual space, and how time, space and presence are embodied via the internet towards the creation of a communicating relationship. A collaborative project between Lisa Parra, choreographer (USA) and Daniel Pinheiro, video/media artist (Portugal) for developing methods for artistic research using telecommunication technologies.
The project between Lisa Parra and Daniel Pinheiro started as a collaboration within the Minded Motion lab #MetaAcademy – realized during the Bates Dance Festival 2013 – organized by Marlon Barrios Solano, Rachel Boggia, Nancy Stark Smith and Josephine Dorado. An online lab dedicated to the exploration of embodiment activities and co-creation across the internet.

More info:

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On Wednesday, March 3rd, 2010, our class had a Skype session with Prof. Ellen Bromberg of the University of Utah. Prof. Bromberg raised many challenging questions and interesting ideas regarding telematic performance (TP) which I think will be very helpful in guiding our future collaborations with SARC and others.

Ideas and thoughts:
-Delay, Distance, Decay - Elements of TP to be overcome, or embraced(?)
-Sound and alternative sense of space are results of telematic experiences
-Simplify - Complex dance can muddy the overall intention of a TP
-Camera choreography as critical part of TP experience (including specific ideas for artistic use of camera in TP)

-WHAT - Is TP a screen dance?
-WHERE does TP take place? On the screen? In the spaces?
-WHERE is the audience?
-WHO is the audience? IS THERE AN AUDIENCE?
-Discovering the "plie" of telematic dance - Will there be such a thing?
-WHY does any of this matter? Couldn't we just dance to a recorded video and have the same experience?

...are we feeling the "Telematic Embrace" yet?

-Jeff Z.
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Today I post a first report of how our telematic collaborations are going. Our class is trying to collaborate on networked performance with musicians from SARC in Belfast and RPI in Troy, NY. The technologies we have decided to use for now are, with SARC, SKYPE for video with JackTrip for audio, and Max/MSP for sending data to affect the sound. So far we've been taking small steps each week, one week getting JackTrip to work, the next week getting it to work better, and finally this week achieving a short improv between us. Next week we will hopefully get the four-channel audio from SARC properly spatialized in the room so we can respond to that in our movement choices, and to get video of the musicians from SARC on the screen in addition to our video. It is a bit frustrating to have the setup take so much time, but I hope and believe that we will get faster and more fluent with it so that we can make art rather then deal with the technology for so much of the class period. It is GREAT to have partners willing to work with us on a weekly basis to get this going...and by the end of the semester I know we'll have something wonderful to show for it. We need next also to develop scores for dances over the Internet that will make some artistic sense.

John Toenjes, instructor of 362 Networking & Performance
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ETP Phase 1 :: Workshop in Prague

In the framework of enter4 – the 4th International Art | Science | Technology Festival in Prague (18th – 25th April 2009) the first workshop of ETP-project took place.So, the aim of Prague-workshop was to get an introduction from the beginning of using the motion sensing system Kalypso. The networked environment »body-spaces_09explorations« was the basis for the workshop – mainly carried out by the TMA.Proposed artistic production, testing, presentation and sustainable application of unique transnational audiovisual interaction sites are based ona) interactive sites open to the public, equipped with camera-motion sensing systems EyeCon and Kalypso (author: Frieder Weiß) and technologies for the control, generation and reproduction of audiovisual processes;b) their transnational networking on the basis of the network technology OpenSound Control (OSC) andc) an original European co-production of audiovisual virtual environments that »generate« themselves via physical actions of the visitors or performers to transnational European hyper-sites of intercultural encounter.


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Prague (Ivor Diosi) participated in the trial bridge effort between Dresden and Madrid using this minimalist setup on my table, with my faithful oprec-testing doll:

image 1: actuality 2009-04-25Here's a slightly zoomed picture of the cameras I had at my disposal. To the left is a Creative Optia AF, a very solid webcam in its category. To the right is the camera module from TrackIR 4 Pro, which is in essence an infrared USB webcam. Unfortunately, the directshow filter from the manufacturer's website, which I figured would make its image accessible from Kalypso, and had to be installed on top of its driver, was crashing my workstation. I decided to stuck with the Optia and move on.

image 2: cameras 2009-04-25This is the screenshot of Kalypso settings, using a patch which I shamelessly modified from Frieder's original design for the day. You can notice the ambition to include an iPhone in the mix.

image 3: kalypsopatch 2009-04-25I had had arranged for some port forwarding the day before with our kind netadmin, ports 7000-7010 were being forwarded to my workstation, so I was hoping for clear reception. Kalypso and oscclient installed/run without any hitches. Upon closer look with OSC Monitor, I can confirm I was receiving contourDresden and contourMadrid messages. The later until late at night, and its preview is what's shown on the first two shots above. Also, for the record, I did recognize the movement pattern early on :-)
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On April 25th 2009, 14 experts in media art met in the Trans-Media-Labor in the GebäudeEnsemble Deutsche Werkstätten Hellerau to discuss the topic „Innovation in the crisis – Do our ideas have a chance?“ in the context of TMA WILL. The project European Tele-Plateaus – transnational sites of encounter and coproduction (ETP) took the centre stage. At the same day just a couple of hours ago, the first presentation of the previous achievements of the project took place. Unfortunately, because of technical problems, a networked environment could not be set up. Nevertheless, the local environment was being used by the interested audience. The person inside the environment is able to control audiovisual processes just by his or her position and the quickness of the movements. Definitely, the target of ETP exceeds all mentioned facts, because it also aims the production of publicly accessible, networked Virtual Environments. Therefore, three networked performances and six networked installations are planned which will take place simultaneously in all co-operating cities (Dresden, Prague, Madrid, Norrköping). The idea of the project was put up for discussion within TMA WILL. This discussion can be divided into three main focuses: “How can a Virtual Environment be defined?”, “How notices the audience performances with networked Virtual Environments?” and “Why is the ETP-project applied as intercultural?”Jadwiga Müller for TMATranslation by Louisa Zschinzsch

(c) Sprotte
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At April 21, 2009 @ DOX – Centre for Contemporary Art Prague, a discussion about networked artistic practices took place.Participants:Thomas Dumke (DE), Georg Hajdu (DE), Johan Melin (SE), Klaus Nicolai(DE), Marlon Barrios Solano (VE/USA), Andrea Szigetvári (HU), Frieder Weiß (DE)This discussion was an introduction of the state-of-the-art of experimental practices in the field of networked and/or distributed creativity. Concepts and people behind two leading European initiatives called ETP (European Tele-Plateaus) and CO-ME-DI-A (Cooperation and Mediation in Digital Art), were on the main focus. How do artists think about networks and how do they make use of high-speed Internet in order to collaboratively create one single installation or performance with its co-creators being in different locations?

Marlon Solano Barrios, Johan Melin, Frieder Weiß, Klaus Nicolai, Thomas Dumke, Gregor Hajdu (f.l.t.r.)

Frieder Weiß, Klaus Nicolai, Thomas Dumke, Gregor Hajdu (f.l.t.r.)
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