Art Com Magazine April 92

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From: [email protected] (Timothy J. Anderson)
Newsgroups: alt.artcom
Subject: Art Com Magazine April 92
Message-ID: <[email protected]>
Date: 26 Apr 92 22:02:11 GMT
Organization: University Libraries - Public Services, Carnegie Mellon,
Pittsburgh, PA
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_________________________________________________________________
APRIL 1992 NUMBER 57 VOLUME 13 NUMBER 2
_________________________________________________________________

Welcome to ART COM, an online magazine forum dedicated to the
interface of contemporary art and new communication technologies.

You are invited to send information for possible inclusion. We
are especially interested in options that can be acted upon:
including conferences, exhibitions, and publications. Proposals
for guest edited issues are also encouraged. Send submissions to:

[email protected]

Back issues of ART COM can be accessed on the Art Com Electronic
Network (ACEN) on the Whole Earth 'Lectronic Link (WELL),
available through the CompuServe Packet Network and PC Pursuit.

To access the Art Com Electronic Network on the WELL,
enter g acen at the Ok: prompt. The Art Com Electronic
Network is also accessible on USENET as alt.artcom.
For access information, send email to: [email protected]

*Guest Editors: Artur Matuck & Maria Matuck, [email protected]
*Editorial Assistance: Tim Anderson, [email protected], and
Michael Lippert.
*Editor: Carl Eugene Loeffler
*Systems: Fred Truck and Gil MinaMora

ART COM projects include:

ART COM MAGAZINE, an electronic forum dedicated to contemporary
art and new communication technologies.

ART COM ELECTRONIC NETWORK (ACEN), an electronic network dedicat-
ed to contemporary art, featuring publications, online art gal-
leries, art information database, and bulletin boards.

ART COM SOFTWARE, international distributors of interactive video
and computer art.

ART COM TELEVISION, international distributors of innovative
video to broadcast television and cultural presenters.

CONTEMPORARY ARTS PRESS, publishers and distributors of books on
contemporary art, specializing in postmodernism, video, computer
and performance art.

ART COM, P.O.B. 193123 Rincon,San Francisco,CA,94119-3123,USA.
WELL E-MAIL: [email protected]
TEL: 415.431.7524 FAX: 415.431.7841
_____________________________________________________________________

This is the second issue of Art Com Magazine on the Reflux Project.
Number 56, March 1992, included *Reflux Concept*, **Network*, selected
*Proposals* and a *Wordflux*. This second issue includes
*Special Events*, Exhibitions* and a concluding *Metaflux*.
Fuller documentation of the Reflux Project, will be uploaded to the WELL
in May.

*Exhibitions*Exhibitions*Exhibitions*Exhibitions*Exhibitions*

21st Biennial of Sao Paulo, Brasil. September, 21 - December 10, 1991
and Hewlett Gallery, Carnegie Mellon University
September 17 - 29, 1991, as described in email messages at the time:

>The Reflux exhibition space was located at the entrance of the SP
>Biennial pavilion. Works were placed on the walls of the stand, with
>Reflux proposals and responses hung side by side. In some cases,
>Portuguese translations were provided to help the Brazilian public
>better understand the displays.

>The Reflux project in SP used computers, fax machines, a printer, and a
>photocopier (lent by Itautec) allowing visitors to interact and respond
>to the proposals. The idea was to generate as much interaction as
>possible among artists at the SP node, visiting artists, the general
>public at the Biennial, and the Reflux network. This interaction proved
>to be a great success, with several responses to the proposals
>generated each day.

>Attendance averaged 4,000 people a day, from across Brazil and many
>other Latin American countries. . .

>Each day, one proposal was chosen to be presented to the public.
>Visitors then could focus on understanding and responding to that
>specific proposal. . . In addition to the displays and email
>dialogues,the public also participated in special events
>utilizing videophone and fax machines. -- M.Matuck

>"The Biennial node is working hard dealing with all sorts of people,
>mainly young people brought by the schools. Several drawings are on
>the way, produced by the youngsters working on computer graphics.
-- A. Matuck

>In Pittsburgh, . . . at the Hewlett Gallery, more than a hundred
>of Images, proposals, texts, dreams, documents, graphisms, sounds
>and many other forms of artistic expression, exchanged via fax and
>computer . . . will now be exhibited. Furthermore, the audience could
>also participate in teleconferences via computer and dialogue with
>artists of several countries!! . . . (and were) connected with
>ArtCom. -- M. Matuck

*Special Events*Special Events*Special Events*Special Events*

The Reflux Project realized 22 Special Events, as well, including:

* Eight Teleperformances transmitted live by videophone, featuring
Otavio Donasci, Matt Wrbican, James Kocher, Phil Rostek,
Ulisses Jenkins, Group Paris 68, Students from University Sao Paulo,
Students from Ontario College of Art, Ricardo Karman, Inter-Access.
* Five videophone Teleconferences, by Lowry Burgess, Carl Loeffler,
Artur Matuck, Jeff Mann, and the Electronic Cafe.
* Two Events with children interchanging drawings and poetry by fax
and email, connecting children from Sao Paulo, Pittsburgh and Israel.
* One telephone conference call conecting Wayne Draznin and Charlotte
Pressler (Cleveland), Jorge Michaelson (Denmark), Robert Dunn
(Pittsburgh), Artur Matuck (Sao Paulo) and Jeff Mann (Toronto).
* Plus a simultaneous performance, a virtual party, a workshop, a fax
exchange (Image Local Image Global), a fax and voice exchange (Fax
to Face, Voice to Voice en Tete a Tete), and a parcel exchange
(Wrap, Unwrap).

Brief excerpts from four of these events follow:

* Clothefax - Teleperformance, Fax & Videophone exchange.
Concept: Otavio Donasci, SP Biennial Node.

"CLOTHEFAX (FAXFAXION!)"

INFLUX FOR INTERACTIVE PERFORMANCE XEROXED CLOTHING PIECES WILL BE
FAXED TO EVERY NODE IN THIS NETWORK ACTION.

Performances were held simultaneously at the SP Biennial and in
Pittsburgh. Models and participating artists were wearing xeroxed
clothes and custom jewelry received by fax.

The CleveNode sent a piece of "Underwear", a biomedical illustration
depicting inner human organs of the upper body. Laura Schultz sent
from Yosemite a Bridal Gown divided in hundreds of fax sheets.
Gilberto Prado in Paris created a griffe - JoiaFax - which produced
and sent fax "baubles and bangles" and other accessories.

* Semion, a symbol for release of information: videophone exchange.
Teleconference by Artur Matuck, transmitted from SP to Pittsburgh.

"Semion is a permission mark allowing the reproduction, translation,
dissemination, utilization or application of information. When Semion-
marked, any document, be it a text, an image, a project, a method
or an idea could be reproduced, translated, diffused, applied or
utilized freely. . . Semion could be an inestimable instrument for
increasing cultural diffusion all over the world since today tech-
nology offers fast and efficient means for reproduction, diffusion
and transmission of information. . . The Semion proposition intends
to question informational interchange at the international level
seeking an alternative system that would permit the information flow
among nations to be significantly increased. . .

* Global Frontiers for Art - Videophone Teleconference by Lowry
Burgess, Dean of College of Fine Arts, Carnegie Mellon University.
Transmitted from The Hewlett Gallery to the Sao Paulo Biennial.

"Digitalia" is a new computer-based continent rapidly developing its
own inward and outward reality. Its constant drive is toward higher
and higher forms of simulation, simultaneity and synesthesia, all
moving toward the formulation of fourth dimensional gestalts.
Digitalia is waking to its capacity to dream and artists of all kinds
have the abilities to gestalt these first inchoate dreams. This
powerful transformative presence will be complementarily balanced by
an intense drive for an inner poetics. Art will expand its roles both
in relationship to inward search and also in the process of reifying
new states of consciousness. . .

* Fax to Face, Voice to Voice, en Tete a Tete -- Fax and Voice Exchange
Concept: Varia Qua Dca (Pierre Granoux, Anne Vidal, Sarah Vaugham)
Transmitted between Sao Paulo, Brazil & Aix-en-Provence, France

"Face to Fax" is a proposition for the fluxing and refluxing of
artist's identifications and self-presentations.

Image: "Face to Fax" -- Fax exchanges of self-portraits (photos,
drawings, texts). Voice: "Voice to Vox" -- A telephone line, with
an answering machine, will be available for oral self-portraits in
the language of origin of the artists.

The event took place on the evening of November 21. A series of fax
self-portraits were exchanged between Brazilian participants in the
Reflux Telarte Workshop in SP and the French and American partners
at the Aix-en-Provence Ecole d'Art in southern France. The exchange
was completed with a sequence of vocal self-presentations trans-
mitted by phone and recorded at the other end.

*Metaflux*Metaflux*Metaflux*Metaflux*Metaflux*Metaflux*Metaflux*

The Reflux Project evolved out of the idea that large scale
telecommunication art events could be designed in terms of their
information flow.

The Project's main objective was to build a structure to entail different
creative teams from around the world to come into contact with each other
to generate dialogical or interactive art works.

The concepts of decentralization and interactivity were supposed to
permeate every phase of the Project so that the network community would
generate an event as a distributed ecosystem, without a supervising
center...suggesting an alternative model for intercommunication on a
planetary scale.

The Reflux Project, however, proposed that participating individuals and
groups on each node would have the autonomy to create their own
proposals of dialogical art (Influxes) and send them to the whole
network, spread throughout the planet.

To complete a Reflux movement, after receiving responses (Fluxes)
from other nodes, each node was to collect and then resend all the
received responses to every node in the network.

However, Reflux has been characterized by a multiplicity of proposals
and a somewhat limited number of responses to those proposals. Since
Reflux promoted a system of non-compulsory interactivity, there was
nothing to be done about it. In the end, it was a complex task to
collect, review, and interpret responses as well as monitor fluxes of
information.

Although, interaction and spontaneous dialogue sprang naturally out of
several videophone connections and fax exchanges.

People on terminals connected by videophone, the so - called videologuers -
developed a natural thirst to see their remote partners as if the
low resolution pixilated image could convey something a voice never
could. Videologuers frequently requested their partners' images, as if they
were hungry for views of spaces, audiences, and distant
people.

When a personal image was received as a gift, it was a satisfying vision of
a
remote person with whom we are talking.

In this alternate voice/video mode a new art medium is arising, a new
video language is being created in which interaction is naturally
embedded.

In that virtually-shared space, interactivity is implicit and natural, a
behavioral mode evolving out of telephone conversations.

Teleconferences or performances via videophone seemed to work better
whenever they did not follow lecture hall or stage models, both discursive
modes in which a hierarchical relationship is implicitly communicated.

Rather, videologues seem to generate a telesthesic imprint whenever people
perform, talk, move, and play informally, implicitly inviting dialogue
since no discursive barrier is set.

Even if a dialogue or a videologue never occurs, the now quite
exquisite sensation of personal contact with a video image is enough to
trigger a telesthetic imprint.

The virtual space that the videophone generates seems more appropriate
to accommodating dialogue and interaction, other-related forms of
performances and teleconferences, heterological forms of discourse.

Simultaneous presence through a virtual space seems then to be an
evolving format for interactive performance art-one that will certainly
breed new unexpected works. What we have seen in Reflux was certainly a
step in that direction.

The TV/phone hybrid form of the videophone will certainly continue to
include the normally hierarchical form of non-interactive tele-vision and
the highly interactive form of the tele-phone.

For artistic purposes, the videologue growing out of the two-way
conversation mode of the telephone seems to be the most appropriate for
enticing the ephemeral telesthetic sensation and imprint that follows.

Fax exchanges, however, do not require instantaneous remote
presence, and therefore can work as graphically enhanced answering
machines but do not necessarily lead to a natural interaction.

What led an event such as Clothefax-FaxFaxion to entice such an enthusiastic
response may have been a quality of the proposal in itself.
-- Artur Matuck
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