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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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.

Table of Contents # Chapter Introduction.. 1. Characteristics 1.1. Telepresence and the emotional connection. 2 Page 1

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... 2.2. Simulating everyday life... 12 15

2.3. The dialogical process in telematic art.. 16 Qualifications... Recommendations Summary.. Conclusion... References 18 18 19 20 21

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.

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 nonverbal interaction, like playfulness or longing, that the audience could appreciate and understand.

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

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.

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

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

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.

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.

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. Nonverbal 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 in Beyond 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 participants to 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 contrast cultural 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 is created. 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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