Telematic Art Using Bodily Interaction as Cultural Exposition
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Transcript of Telematic Art Using Bodily Interaction as Cultural Exposition
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Telematic art involving bodily interaction as cultural exposition
Loh Jian Hui
Interactive Art Level Three
An academic paper submitted in partial fulfillment of the requirements for the Degree of Media
Arts (Interactive Art)
LASALLE College of the Arts
2013
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Signed Statement
Accepted by the Faculty of Media Arts, LASALLE College of the Arts, in partial fulfillment of the
requirements for the Degree in Interactive Arts.
Supervisors Name
Rashid Saini
I certify that the work being submitted for examination is my own research, which has been conducted
ethically. The data and results presented are the genuine data and results actually obtained by me during
the conduct of the research. Where I have drawn on the work, ideas and results of others, this has been
appropriately acknowledged in the essay. No part of this essay has been or is being currently submitted
for any qualification at any other university.
In submitting this work to LASALLE College of the Arts, I understand that I am giving permission for it
to be made available for use in accordance with the regulations and policies of the college. This work is
also subject to the college policy on intellectual property.
____________________________________
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Abstract
The first half of this paper explains the characteristics of such artworks using examples. The
second half explains how this kind of art is an authentic expression of culture, using Edward T Halls
cultural theory, Jurgen Habermass concept of communicative discourse and Allan Kaprows concept of
Happenings.
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Table of Contents
# Chapter Page
Introduction.. 1
1. Characteristics
1.1. Telepresence and the emotional connection. 2
1.2. Capturing emergent behaviour.. 5
1.3. The transformation of space...... 9
2.Effectiveness as mode of cultural exposition
2.1. Body language as cultural communication... 12
2.2. Simulating everyday life... 15
2.3. The dialogical process in telematic art.. 16
Qualifications... 18
Recommendations 18
Summary.. 19
Conclusion... 20
References 21
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Introduction
Some of the more important defining characteristics of the kind of telepresence art examined in
this paper will be spelt out briefly here in the introduction before this paper goes into more detail in the
following sections using real life artwork examples.
First of all, the audience is physically involved in the art process and the body can be seen by
other participants and is visually represented as-is, as opposed to virtual avatars. As such, surveillance
technologies like infrared cameras or video cameras are usually involved. Since the body is engaged
physically within the artwork, and depending on the amount of artwork-external sensory input being
screened out (e.g. in a omnimax theatre setting), there is always some degree of immersiveness involved.
Secondly, The artwork is highly participatory and interactive in nature, and the outcome of the
artwork will depend on the actions of the participants, the possibilities of which are open-ended and
unpredictable. In a manner similar to contemporary performance, the artwork is a time-based experiential
process rather than being object or form based. The outcome of the artwork will require the audience to
interact with one another, either via verbal or nonverbal communication, using either language or body
movement.
Lastly, the artwork is telematic, or network based. Telematics is about computer mediated
communications networking involving cable or satellite links between geographically dispersed
individuals, be it in the same city or different places around the world, and the artwork can occur as a
series of remote encounters.
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1. Characteristics
1.1. Telepresence and the emotional connection
One of the first telepresence artworks is Hole in Space (1980) by Kit Galloway and Sherrie
Rabinowitz. It is a video chat linking life sized displays in New York and LA with a satellite feed for
members of the public to see and interact with one another via a screen across two remote locations. The
findings of this project showed that a high-speed connection, which means no image latency, and size of
the image, no less than life size, matters in communicating presence and emotion. The participants are
excited and waving and shouting to the people on the other side, carried away by the novelty of the
situation.
Hole in Space (1980) by Galloway and Rabinowitz.
This authors degree project called Kine(c)tic also used the idea of telepresence in a
performance installation. There were two remote stations with a performer(s) in each location, either an
actor or a dancer, and a Microsoft XBox Kinect is used in each location to track the movement of the user.
The two parties can see each other via a visual projection and react to each others movement in real time.
Although there was no verbal communication and the image is not a real life representation but just a
silhouette, there were basic emotions and abstract ideas that could be communicated through the non-
verbal interaction, like playfulness or longing, that the audience could appreciate and understand.
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Kine(c)tic performance installation by author. 2013.
In the dance piece Surfacing by Troika Ranch in 2004, the movement of the dancers are
recorded and played back on background surfaces, symbolising memories that the dancers react to in real
time. Tension and drama develops as the dancers struggle with their attraction to the image, and they are
emancipated when they discover that freedom comes from detachment.
Surfacing by Troika Ranch. 2004
In a seminal work by Paul Sermon Telematic Dreaming (1992), two beds in remotely separate
locations are connected telematically via means of a live video feed. Participants on both beds are able to
see the other party on the other bed projected as an image and are able to interact in real time with them.
One finding of this artwork was that there was a real sense of touch and emotional connection even
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though the participants could not physically touch each other. Their bodies exist in two places at once and
there is awareness of their extended presence and how the other party is reacting through the video
feedback. The use of a bed also helped intimacy and comfort and contextualised the artwork as a highly
personal interaction with another human being.
Telematic Dreaming by Paul Sermon. 1992.
Being able to have eye contact has been researched to be crucial to communication, as facial
expression carries a wealth of non-verbal cues on what the other party is feeling or thinking. In normal
web cameras, eye contact is missing because the other party is seen looking down because the camera is
situated above the computer screen. In professional high end teleconferencing systems, technology is able
to preserve eye contact, thus mimicking how people interact in real life. Together with life sized, high
definition images and minimal latency in the video feedback, such teleconferencing systems do indeed
extend telepresence across geographical boundaries to a high degree of fidelity never achieved before.
A teleconferencing product by Digital Video Enterprises. 2013.
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Psychological research has shown that more than half of human communication is nonverbal.
Mankinds animal nature long preceded the invention of language that helps extend our experience to
others, but our bodies communicate far more than we realise at the subconscious level. Handshaking,
hugging, love-making and touch are expressions by the medium of the body that sometimes even words
cannot describe, and are essential features of the social nature of man.
1.2 Capturing emergent behaviour
The networked nature of telematic art allows for an emergent consciousness, as participants
become collaborators in the formulation of meaning during the process of the artwork.
Blast Theorys Can You See Me Now (2005) connects up to twenty players in a game of cat and
mouse in a mixed reality environment. There is the virtual city existing online that is a simplified replica
of a real city showing the actual streets and map. There are players on the streets of the real city and
players in a computer control room controlling avatars in the virtual city. The players in the real city are
trying to catch the digital avatars by chasing them on foot and win if their handheld device says that they
are within a certain vicinity of the player in the virtual city. The players in the computer control room can
see the own digital avatars as well as the location of the real world players on their virtual city map. They
can also hear the live audio streaming from the walkie talkies of the real world players.
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Blast Theory Can You See Me Now. Tokyo. 2005
Although the setup is adversarial, there were certain poignant moments when the online player
felt worried for his pursuers safety in the real world, or when online players chose to stick together as
friends when pursued. The emotional content of telepresence was communicated by the live audio stream
as the online players were conscious of the presence of real players affected by cold or becoming
frustrated at getting lost. The emergent behaviour that arose is an interesting case study of how we behave
in a mixed reality environment where real space is juxtaposed with virtual space, and where real people
and digital avatars of other real people commingle.
TaxiLink by Lila and Alon Chitayat in 2010 allows a small group of audiences sitting in a booth
mock-up of a vehicle to experience a real time distant taxi ride in the old city of Jerusalem. They can
interact with the taxi driver in real time via a live video feed and talk to the driver and see the city through
the taxis windows. The TaxiLink booth is located in a public space in Linz, Austria and is somewhat
immersive, simulating the experience of being in an actual taxi by designing the space to look like the
inside of a vehicle. The idea of telepresence exists because the taxi driver in Jerusalem and the
participants in the booth can see and interact with one another. The locals in Jerusalem would interact
with the taxi, e.g. street vendors, and by telematic extension, the participants sitting in the TaxiLink booth
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as well. The users get to choose their route and destination by talking to the driver. Six different taxi
drivers from different backgrounds were involved, each giving their own personal view of the city. The
users could even choose their own taxi driver based on their identity descriptions provided in the booth.
While the behaviour that arose is not unlike that of a normal tourist in a foreign taxi, the context
of it being artwork makes it special. The behaviour could be captured and documented for posterity and
makes it possible to be examined by social scientists for example. The artwork also makes a cross-cultural
experience accessible and convenient for the audiences involved when it would have been difficult
otherwise, in an intimate and familiar setting of a taxi ride. The narrative of the artwork could be the
conversations involved in the taxi and the exchange of meaning between the taxi driver and his
passengers, and audiences perception regarding Jerusalem would change depending on the nature of this
exchange. The kinds of questions asked by the passengers, the directions given, the commentary given by
the driver based on his own views, the reactions of the passengers to the sights - all this would be
revealing of inherent cultural assumptions and ideological worldviews belonging to the participants from
different cultures.
TaxiLink by Lila and Alon Chitayat. 2010. Linz, Austria.
Marie Sesters Access in 2003 is a telematic artwork about surveillance using surveillance
technology. Unsuspecting passers-by are caught by a beam of light that tracks and follows them as long
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as they are within the view of the camera. An acoustical beam that focuses on the person transmits the
voice of the person controlling the system. This controller person is able to see the scene via a live video
feed and can choose his victim. According to the documented footage of this artwork, the controller
would say things like walk forward, you are fabulous and reveal to the victim that he is being
watched online by many others.
The emergent behaviour for this artwork is particularly interesting because the consent of the
victim is not given. The victim is unaware of the context of this experience, not knowing that it is actually
an artwork. The victims privacy is invaded and he is surveilled by many people. Marie Sester has
mentioned that one of the inspirations for this artwork is Hollywood. This artwork could be seen as a take
on the phenomenon of the celebrity and how his life is constantly in the spotlight, especially with the
paparazzi constantly surveilling them. Marie Sester poses a warning in the online project description page
that some users may not like being monitored as well as another warning that some may love the attention.
The users reactions in this artwork reflect divergent views on privacy - some are exhibitionist and do not
mind, but most feel uncomfortable. Although we are being surveilled all the time in this age of ubiquitous
surveillance, we are usually oblivious to it even though we may be aware we are being watched. In our
everyday lives, surveillance is unobtrusive and non-invasive, and at some cognitive level, we understand
and trust that it is for safety and security purposes and is for our own good. But when we realise we are
being watched, as this artwork makes you feel conscious of, we feel violated.
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Marie Sesters Access. 2003. Linz, Austria.
1.3 The transformation of space
Chriss O Sheas Hand From Above (2009) transforms a public square into a social networked
space for interaction. Passers-by can see themselves on a huge screen where a virtual giant deity hand
tickles them, presses and flattens them virtually on the screen, or pick them up and fling them off the
screen. This creates a temporal community where strangers stop for a moment and partake in a joyous and
playful communal interaction within the artwork. Propinquity or the feeling of closeness is created
where none existed before.
Chris OShea. Hand From Above. 2009.
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Technology has allowed artworks to become more immersive over time, and this also applies to
telematic art as well. From 2D text based narratives used by pioneering telematic artist Roy Ascotts La
Plissure du Texte or The Pleating of the Text in 1983, or text and ascii images by the same artist in
Aspects of Gaia in 1989, telematic art has moved on to 3D representations using the body. An example
of this Simon Pennys Traces, which connected three CAVEs in different locations showing a 3D
representation of users in the form of light sculptures traced by four infrared stereo cameras. The aesthetic
goal was to focus the users attention on the bodys movement to generate real time graphics and sound
when dancing with telematic partners.
Roy Ascott. Aspects of Gaia. 1989.
Simon Penny. Traces. 1999.
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Modern day teleconferencing systems strive for immersiveness as well, whether by extending the
screen size for telepresence or showing 3D objects for presentations seemingly floating in space.
Immersiveness allows for aesthetic possibilities that engage the senses for new cognitive potential.
The telematic networked nature of the kind of artworks discussed in this paper means that the
artwork can exist in multiple remote physical spaces. The current state of technology allows the artwork
to be reproduced in more than one place, transcending geographical boundaries, to be experienced
simultaneously in real time by all of its audience.
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2. Effectiveness as mode of cultural exposition
2.1 Body language as cultural communication
In a social context, whenever the body is seen, there is a richness of communication made
possible through eye contact and body language. This is in comparison to say, texting or speaking on the
phone with another person. Telepresence art has shown evidence of an emotional context whenever the
presence of another person is felt, even if just the silhouette of the other person is seen on a screen. Non-
verbal communication transcends language and culture and is linked to how our mammalian brain works.
Edward T Hall, an American anthropologist and cross-cultural researcher known for developing
the concept of Proxemics (a description of how people behave and react in different types of culturally
defined personal space), describes extension transference as the intellectual manoeuvre by which an
extension is confused with or takes the place of the process extended. Extensions in this context are
the means by which human beings develop artificial adaptive mechanisms and controls to solve problems,
alter the environment and leapfrog evolution and surpass the limits of the human physiology. In this
respect, language, institutions, technology are all extensions. However, extension transference, which
has a negative connotation, happens when the extension itself becomes synonymous with the human
process it was meant to extend, e.g. need for happiness, socialisation, identity, emotional connection and
communication with others.
Hall argues inBeyond Culture (1976) that language is an extension that prevents a proper
understanding of cultures. Every culture has its own biases and built-in assumptions about time, space,
materials and how one works, plays, eats, learns etc. The linearity of language makes it poorly adapted for
describing culture because culture cannot be verbalised. Culture, with its own set of behavioural
assumptions, is rooted in the old mammalian brain, the part of the brain that synthesises (sees things as a
whole) rather than as discrete, separate and logical parts. Language and logic is processed in the
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neocortex, the symbolic part of the brain dealing with logic and abstraction, but culture is understood in
the part of the brain that existed before language was invented.
Hall goes on to say that kinesics, the way one moves and handles ones body, is one of the most
basic modes of communication. It is tied to rhythm in body language. Our body language tends to
synchronise with those we are talking with, e.g. heads tilted and legs crossed in a mirror fashion. People
in interactions are in sync without realising it, moving in a kind of dance without the need for music.
Children in a playground move to the direction of the most active child, who is like an orchestra
conductor telling them what to do, where and when to move. This body movement synchrony is the
foundation of all speech acts.
Hall differentiates between a high-context (HC) and low-content (LC) communication. A HC
message is one in which most of the information is either in the physical context or internalised in the
person, while very little is coded in the coded, explicit part of the message, while a LC message has the
mass of information vested in the explicit code. Hall describes Western culture as being more LC as
opposed to Eastern cultures like Japan and China which are more HC in communication style. HC
cultures generally have longer histories and deeper traditions.
Within Halls framework, the artwork examples shown earlier tend to fall into the HC category,
because they depend heavily on the physical and bodily interaction among participants as part of the
artworks process. This is more relevant for the artworks in which the body is seen. Language is still used
but is a subsidiary medium of communication without detracting much from the artworks process. In
Pennys Traces, participants communicate with each other through body movement, which affects the
aesthetics of the light and sound sculpture in the CAVE. In Sesters Access, the victims body language
communicates emotions such as fear, confusion or excitement when caught in the beam. In Can You See
Me Now, the location-based cat and mouse game, the body is not seen and hence communication and the
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emotional subtext depends more heavily on the audio stream coming from the players on the street and
the text messages being sent to them from the online players. In Kine(c)tic, the authors artwork,
communication between the two remotely located parties are expressed through body movement and the
poetry of dance with no verbal communication at all. This is the same for the other dance piece Surfacing
by Troika Ranch. TaxiLink relies more on language because the social interaction takes place in a taxi
but body language is also important in the communication process. Body language would play a bigger
role if the taxi driver did not speak English and the audience would have to rely on body gestures to fill
up the communication gap. Telematic Dreaming by Sermon is definitely HC. Ascotts Aspects of Gaia
is LC because video technology has not matured then yet. Lastly, O Sheas Hand From Above is HC as
language is not necessary in the artworks process. Hence, artworks involving bodily interaction are
mostly HC and high in communicative intent and content.
Hall postulates that our everyday lives are unhappy because of extension transference. The
institutions we created (e.g. school, corporation) and the tradition or culture we live in are extensions that
we transfer ourselves into. We are surrounded by advertising and propaganda from governments and
commercial companies - all extensions, telling us what to do. We forget that these extensions are not
us per se and do not make us human but are meant to extend our human qualities. Being human means
being in touch with our senses and our innate animal self. Art has these qualities of connecting us to our
human animal self. Music connects us to our sense of hearing, dance to our sense of movement, paintings
to our sense of visual appreciation and so on. Art in a way creates temporary experiences that move us
away from our extension transferences and remind us of our humanity. Art involving bodily interaction is
especially powerful in this aspect because it is immersive and engages all of our senses, in direct
communication with other human beings, away from our extension transferences, including language and
culture.
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2.2 Simulating everyday life
Allan Kaprow, an American pioneer of performance art, developed the theory of the Happening
sometime in the late 1950s. To Kaprow, a Happening could be a game, an adventure or a play activity
with no structured beginning, middle, or end, and no distinction or hierarchy between the performer and
audience. The audiences reaction would decide the outcome of the Happening, making each Happening a
unique experience. It was participative and interactive, and tore down the fourth wall between the
performer and audience, such that the audience became part of the artwork. The Happening would use
everyday objects, and incorporate everyday activities, such as squeezing an orange or listening to a band,
integrating art and life.
The artwork examples in this paper involve the audience in chance encounters or everyday
situations, using art as a reflection of reality and holding a mirror to it. Access and Hand From Above
involve passers-by who happen to be passing by. TaxiLink simulates a real taxi ride. Can You See Me
Now takes the form of a game or adventure with no fixed script. Telematic Dreaming simulates
interacting with a stranger in an intimate setting of a bed. The scripted performance works without
audience intervention like Kine(c)tic and Surfacing are exceptions. By using art as life and life as art,
whatever happens within the artwork can be commentary on what goes on in real life.
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2.3 The dialogical process in telematic art
Jurgen Habermas, the contemporary German sociologist and philosopher, is best known for his
concept of communicative rationality and the public sphere. Communicative rationality is differentiated
from instrumental rationality by locating rationality within interpersonal linguistic communication. He
argues that all speech acts have an inherent goal towards mutual understanding, and that human beings
possess the communicative competence to bring about such understanding. Communicative rationality is
in line with the tradition of the Enlightenment by emphasising the potential to arrive at a more humane,
just and egalitarian society through the realisation of the human capacity for reason, in part through
discourse ethics. Habermas holds that although human beings have communicative competence, it has
been suppressed in contemporary society because the major domains of social life, such as the market, the
state, and organisations, have been given over to instrumental rationality. Technical rationality governs
systems of instrumentality, like the capitalist economy or democratic political government, which tends to
act against rational communicative discourse and action.
Habermas described the public sphere as the public space outside the control of the state where
individuals exchanged views and knowledge, either by meeting in person or through the print media. It
describes what is now commonly understood as civil society. The public sphere has been eroded by the
growth of a commercial mass media that turned the critical public into a passive consumer public, and the
welfare state which has merged the state with society so much so that the public sphere is squeezed out.
Habermas advocates a participatory democracy where matters of public importance can be discussed by
citizens who are on an equal footing to reach consensus and truth.
Habermass framework has parallels with the telematic culture that is characteristic of the kind of
art discussed in this paper. In telematic culture, creativity and authorship is shared. The individuals
capacity for thought and action is enhanced through his interaction with others, and there is the optimistic
possibility of producing a kind of global vision through networked interaction across different
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geographical, cultural, social and personal boundaries (Ascott). This dialogical process parallels the kind
of communicative discourse that Habermas advocates that can help lead to new mutual understandings in
emancipating mankind.
Although Habermas rooted communicative rationality in interpersonal linguistic discourse, this
could easily be replaced with non-verbal behavioural discourse since behaviour is a more authentic mode
of communication compared to language. I have already described how telepresence, in the context of an
artwork where eye gaze and body language is involved, moves the participants away from the influence
of external transferences (the state, corporate institutions) by simplifying the communication to that of a
sensory level. The participants partake of one anothers presence at a sensory innate human level and
connect to one another as human beings. Also, non-verbal communication carries with it more powerful
symbolic weight when the artwork is seen in a performativity context.
Like most kinds of art, telematic art can be conceived within a context that will help spur
awareness leading to further debate and action within the public sphere. An artwork, by its mere
connotation of being about art (which is about representation and simulacra as opposed to power
struggles), creates a safe space for dialogue and interpersonal engagement. Partaking in an art experience
usually or invariably involves consent, and it is assumed that the artwork would have a rational process
for discourse to occur. These facts, combined with the communicative capacity of telepresence, create the
ideal conditions for Habermass communicative rationality to be actualised, albeit at a symbolic level.
In the artworks mentioned earlier, there is always a collaborative and open-ended dialogical
process. Whether the outcome is in the form of new visual aesthetics, as in Kine(c)tic and Traces, or
enjoying one anothers presence, as in Hole in Space and Telematic Dreaming, or in gaming, as in
Can You See Me Now and Hand From Above, temporal social networked spaces and communities are
created during the collaborative formulation of meaning, recalling Habermass notion of the public sphere.
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Qualifications
It is difficult to understand ones own culture within the context of our own culture since culture
is subconscious and hidden from us. Culture hides more than it reveals and it hides most effectively from
its own participants. Understanding ones own culture is more difficult than understanding foreign
cultures because we take for granted our own cultural biases. As such, Hall advocates inter-cultural
communication to let our own culture stand out in contrast in order to learn from the shock of
difference.
Recommendations
For more effective cultural exposition, existing artworks could be extended or augmented in one
or more of the following ways:-
1 Telepresence art, which is usually between two parties, could be networked to more participantsto allow for more communicative discourse that leads to more interesting emergent behaviour and
collective collaboration outcomes.
2 Telematic art involving only text, voice or 2D images could be extended to let the body be seen,thus augmenting the communication with non-verbal body behaviour that reflect culture
authentically.
3 Try involving more than one type of culture, e.g. a mix of East and West to compare and contrastcultural traits and behavioural patterns. Allow for inter-cultural dialogue.
4 Incorporate ethnic art or folk dance since art in general is revealing of the culture in which it iscreated. Dance forms are especially effective since body movement communicates more cultural
content than language.
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Summary
Telematic art using bodily interaction means that the audience is physically involved in the
artwork process and their body movement is tracked and seen by other participants. The artwork involve
some degree of real-time networked collaboration via telematics. The artwork is highly interactive and the
outcome depends on audiences reaction. Space is transformed into a networked social one. There is some
degree of immersiveness involved. Emergent behaviour arises out of this networked effect.
Body language provides strong communicative intent according to Hall because interpreting and
responding to such behaviour cues invokes our mammalian brain and connects us to our primal and innate
animal nature. Such art imitates real life situations and holds up a mirror to our everyday lives, revealing
what is subconsciously hidden. The dialogical process in telematic art can give rise to a new collective
consciousness or emergent behaviour when networked collaboration is involved, having symbolic
resonances to Habermass concept of the public sphere and communicative action.
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Conclusion
Such artworks are a sort of medium in themselves. Walter Benjamin says that the medium
changes our mode of perception. Applying them into an intercultural context will lead to new cultural
awareness.
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References
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