| dc.date.accessioned | 2019-05-28T10:58:28Z | |
| dc.date.available | 2019-05-28T10:58:28Z | |
| dc.identifier.uri | http://95.216.75.113:8080/xmlui/handle/123456789/9 | |
| dc.description | Paul Sermon is Professor of Visual Communication at the University of Brighton. He has worked for over twenty years as an active academic researcher and creative practitioner, primarily in the field of telematic arts. Having worked under the visionary cybernetic artist Professor Roy Ascott as an undergraduate Fine Art student, Paul Sermon went on to establish himself as a leading pioneer of interactive media art, winning the prestigious Prix Ars Electronica Golden Nica in Linz, Austria, shortly after completing his MFA at the University of Reading in 1991, an accolade that took Paul to Finland in the early 1990s to develop one of the most ground-breaking works of his career Telematic Dreaming in 1992.
Dr Claire McAndrew is a Senior Research Associate at The Bartlett and Director of Research at UCL’s Institute for Digital Innovation in the Built Environment. She joined The Bartlett in 2011, receiving her Chartered Psychologist status the same year. Combining social science insight with design-led thinking, she is interested in the possibilities of design and digital innovation within the built environment for transformative social and cultural effect. Her research focuses on the contexts of human wellbeing, security and resilience, workplaces and speculative digital futures. | |
| dc.description.sponsorship | School of Art, University of Brighton
Institute for Digital Innovation in the Built Environment, University College London
Arts and Humanities Research Council (AHRC) Funding Code: AH/M00564X/1 | |
| dc.language.iso | en | |
| dc.relation.ispartofseries | ;81 | |
| dc.type | Article | |
| dc.title | 3×4: a telematic/architectural hypersurface | |
| dc.contributor.author | Sermon, Paul | |
| dc.contributor.author | McAndrew, Claire | |
| dc.description.abstract | In her 2004 publication ‘Virtual Theatres’ Gabriella Giannachi wrote on the processes of doubling presence in interactive artworks, from liquid architecture to telematic performance, where the physical and virtual realms meet and intersect at a place she termed the hypersurface.
“Through the hypersurface, the viewer can
enter the work of art, be part of it, as well as interact with it. Because
the hypersurface is a liminal space, the viewer can double their presence and be in both the real and the virtual environment simultaneously.”
Ten years on, the authors of this paper produced on three occasions a telematic/architectural installation. 3×4 metre ‘blue-box’ rooms linking public audiences at London’s Southbank Centre with residents in New Delhi’s Khirkee Extension, an informal settlement where Khoj International Artists’ Association is located. This installation reflected the changing spatial and digital fabric of both cities, as well as the prescribed dimensions of dwellings in some of Delhi’s new resettlement colonies. Whilst these audiences shared and compared these familiar dimensions across the global north/south, they explored a kinaesthetic experience of ‘doubling presence’. Through self-choreographed telematic performance within digital architectures with physical constraints, they crafted new social fictions, imaginings and happenings in the hypersurface.
This paper discusses this juncture between telematic-kinaesthetic experience and the 3×4 metre dimensions to explore new hybrids of hypersurface space, as observed and experienced by public audiences. Reflecting on this doubling public presence, we conclude by considering their telepresent proprioception for future thinking on the interlacing of performance, architecture and telematic art forms. http://www.3x4m.org | |
| dc.subject | telematic | |
| dc.subject | architecture | |
| dc.subject | hypersurface | |
| dc.subject | telepresence | |
| dc.subject | kinaesthetic | |
| dc.subject | performance | |
