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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Telematic Art Using Bodily Interaction as Cultural Exposition