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Themesicon: navigation pathOverview of Media Articon: navigation pathImmersion
Ornitorrinco (Kac, Eduardo), 1989Ornitorrinco (Kac, Eduardo), 1989Uirapuru (Kac, Eduardo), 1999
TeleGarden (Goldberg, Ken), 1996La plissure du texte (Ascott, Roy), 1983

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sensual feedback and more with the telecommunicative aspect: teleaction using operators and robots. Kac, who has exhibited all over the world and is the recipient of many important awards,[39] first achieved international recognition in the 1980s as the pioneer of Holopoetry. In the 1990s, his primary interest was art that combines biological processes with telematic structures. In the «Ornitorrinco Project,» a collaboration with Eduardo Bennett exhibited at SIGGRAPH 1992 in Chicago, users controlled via telephone lines the movements of a remote robot located at Kac's workplace, the School of the Art Institute of Chicago. He continued to explore these aesthetics in following works, such as «Ornitorrinco in Eden» (1994), «Rara Avis» (1996), and «Uirapuru» (1999), which linked physical spaces with interactive and perception processes with a remote place.


Goldberg's concept for a «Telegarden» was widely discussed and finally installed in 1995; since 1996 it is


on show at the Ars Electronica Center in Linz, Austria. Goldberg envisioned a collective and intercontinental cultural production, an idea slightly reminiscent of Roy Ascott's telematic artwork and collaborative writing project «La plissure du texte» (1983).[40] At the Electra exhibition in Paris, Ascott connected artists in eleven cities in Australia, North America and Europe using the ARTEX system to write a collective fairy tale with different narrative levels and role assignments. The collaborative writing project lasted twelve days and was online day and night. The telephone technology of the time prevented reception of this art event by a large audience, so «La plissure du texte» is only comparable in a limited way with the «Telegarden» and its unknown number of anonymous viewers. Further, Ascott's concept of telematic art at that time consciously renounced, even negated, the object character of an artwork and insisted on its processual nature. By contrast, Goldberg's «Telegarden» allows the object to return to telematic art, albeit an object undergoing a process.

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