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Pulse63 is a live streaming and projection mapping installation at architectural scale developed for Moogfest 2018, in Durham, NC. The project explores the relationship between telepresence and "superarchitecture". This paper will consider the artistic aspects of these terms through the work of Eduardo Kac, Pipilotti Rist, Doug Aitken, and others. The intent is to create a visual installation at Moogfest that works as a monolithic visual signifier by applying artistically mediated telepresence and "superarchitecture." / Master of Fine Arts

No description available.

This investigation has been carried out at the RoyalInstitute of Technology (KTH) in Stockholm. The main goal hasbeen to investigate the factors determining the production of asense of presence and reality in video mediated communication.Presenceis in these studies defines as the subjectiveexperience of being together in one place when one isphysically situated in another. Presence is an emergentproperty; it has no physicality, but arises as a mentalsensation. Special attention has been paid to spatial factors,embodiment issues, and narrative elements related to theproduction of presence. A context map has been used in order to model the semanticsof presence production and to visualize the relationshipsbetween the determining factors. The conclusions may besummarized as follows:     Knowledge about physical and extended spaces and bodiesand of the shifting of attention between these is importantin presence production.     Well planned design of physical and virtual spacesenhances the sense of presence.     Coherent design and production of mediated embodiment canenhance the sense of presence.     Conscious use of content characteristics, e.g., goodstorytelling, can enhance the sense of presence.     Different communication modes need the support ofdifferent combinations of presence production factors.     Even technically poorly mediated communication maysupport a sense of presence and reality if the storytellingis good.     The human sensory environment should be supported by asense of non-mediation, technological transparency, on theplane of discourse.     The results indicate that individual differencesinfluence the sense of presence and reality. The perception of video mediated communication evolves aspeople become daily users. People seem to intuitively begin tointerpret new types of mediated cues, adding what is missing incomparison to a real time physical communicationexperience. Keywords:Telepresence, presence, social presence,co-presence, concept modeling, virtual reality, person space,task space, narration, video mediated communication, videoconferencing.

A pesquisa consiste numa análise comparativa entre três eventos no contexto das comemorações dos 500 anos da chegada dos portugueses ao Brasil: uma mostra cultural em São Paulo, intitulada Bienal + 500; um ato oficial em Porto Seguro, onde foi assinado um Tratado de Cooperação e Amizade entre Brasil e Portugal e um projeto alternativo de arte e tecnologia denominado Projeto Perforum este último concebido por Artur Matuck em colaboração com um grupo de artistas inovadores, que contestavam a representação eurocêntrica e triunfalista dos eventos oficialmente propostos. O Projeto Perforum pretendia envolver grupos étnicos e culturas que participaram do processo de formação da nação brasileira, buscando o diálogo entre elas. Por outro lado, em termos de linguagem artística, experimentava-se com a Arte Telemática compreendendo-se esta como a arte desenvolvida no eixo das telecomunicações, ou seja, aquela que ocorre da transmissão eletrônica de informações, pelo uso de telefones, equipamentos de fax, redes de computadores, televisão, satélites ou videoconferências. / This research aims to provide a comparative analysis of three events in the context of the celebrations of the 500th anniversary of the discovery of Brazil: A cultural exhibition in Sao Paulo, titled Bienal + 500, an official diplomatic act in Porto Seguro, where it was signed a Treaty of Friendship and Cooperation between Brazil and Portugal, and an alternative project of art and technology called Project Perforum the latter designed by Artur Matuck in collaboration with a group of innovative artists who challenged the triumphalist eurocentric officially proposed celebrations by the time. The Project Perforum intended to involve ethnic groups and cultures who participated in the process of formation of the Brazilian nation, intending a dialogical paradigm between these cultures. Moreover it proposed a series of experiments with the emerging telematic art this being understood as the art developed in the sphere of telecommunication, that is, one that occurs while transmitting electronic information through the use of mobile equipment, fax, computer networks, television, satellites, or videoconferencing.

<p>This investigation has been carried out at the RoyalInstitute of Technology (KTH) in Stockholm. The main goal hasbeen to investigate the factors determining the production of asense of presence and reality in video mediated communication.Presenceis in these studies defines as the subjectiveexperience of being together in one place when one isphysically situated in another. Presence is an emergentproperty; it has no physicality, but arises as a mentalsensation. Special attention has been paid to spatial factors,embodiment issues, and narrative elements related to theproduction of presence.</p><p>A context map has been used in order to model the semanticsof presence production and to visualize the relationshipsbetween the determining factors. The conclusions may besummarized as follows:</p><p>    Knowledge about physical and extended spaces and bodiesand of the shifting of attention between these is importantin presence production.</p><p>    Well planned design of physical and virtual spacesenhances the sense of presence.</p><p>    Coherent design and production of mediated embodiment canenhance the sense of presence.</p><p>    Conscious use of content characteristics, e.g., goodstorytelling, can enhance the sense of presence.</p><p>    Different communication modes need the support ofdifferent combinations of presence production factors.</p><p>    Even technically poorly mediated communication maysupport a sense of presence and reality if the storytellingis good.</p><p>    The human sensory environment should be supported by asense of non-mediation, technological transparency, on theplane of discourse.</p><p>    The results indicate that individual differencesinfluence the sense of presence and reality.</p><p>The perception of video mediated communication evolves aspeople become daily users. People seem to intuitively begin tointerpret new types of mediated cues, adding what is missing incomparison to a real time physical communicationexperience.</p><p><b>Keywords:</b>Telepresence, presence, social presence,co-presence, concept modeling, virtual reality, person space,task space, narration, video mediated communication, videoconferencing.</p>

Esta dissertação analisa a obra tecnológica, midiática e biológica do artista brasileiro Eduardo Kac, sobretudo os trabalhos realizados de 1984 até 2004. Os projetos foram reunidos em grupos temáticos e conceituais, denominados, principalmente, de "arte da telepresença" e de "arte biológica", expressões utilizadas pelo artista. A metodologia empregada foi a de posicionamento histórico e comparação entre obras, dentro de um contexto de análise crítica. Elementos do processo criativo foram indicados e tornam-se uma das bases sobre a qual o artista ergue sua poética. As obras e projetos de Kac evocam inúmeras perguntas e reflexões, como os limites entre arte e vida, as relações do homem com a máquina e os limites éticos de atuação e intervenção do ser humano na natureza. São fronteiras que marcam questionamentos e inquietações do artista, sempre em busca de renovações estilísticas, técnicas e conceituais sobre os resultados Dentre os objetivos principais desta pesquisa estão a compreensão das características autorais de tais obras multidisciplinares, com foco nos diversos tipos de "autores" presentes, desde o autor ou co-autor inicial, passando pelos auxiliares operacionais, até participadores ou interatores definitivos, que atualizam a obra em seu status de exibição. Foi buscado como determinar o momento da criação no campo das artes, delimitando a autoria da obra e o que a caracteriza. Os trabalhos artísticos de Eduardo Kac situam-se com facilidade sobre os terrenos da polêmica e do debate frenético, às vezes camuflando suas reais potencialidades discursivas. Nosso olhar pretende ser fiel ao objeto, ou seja, às obras estudadas, limpando-as para uma apreciação mais verdadeira e dinâmica, com aproveitamento de energias criativas, e situando a obra e o artista em suas reais locações no terreno da arte contemporânea. / This dissertation analyses the technological, multimedia and biological work of the Brazilian artist Eduardo Kac, beyond their works done from 1984 to 2004. The projects were gathered in thematic and conceptual groups, denominated, mainly, "telepresence art" and "biological art", expressions used by the artist. The methodology implemented was the historical position and the comparison among works, within a context of a critical analysis. Elements of the creative process were indicated and became one of the bases where the artist builds up his poetic. Kac´s works and projects evoke several questions and reflections, as the limitations between art and life, the relationship between a man and a machine and the ethical boundaries and the action and intervention of the human beings in the nature. They are boundaries that set the artist`s questions and concerns always searching for stylistic renovations, technical and conceptual about the results. Among the main objectives of this research are the comprehension of the authorship characteristics of such multidisciplinary works, focused on several types of present "authors", since the initial author or co-author, passing through operational helpers, till participants or definitive interactors who update the work in its exhibition status. It was searched how to determine the moment of creation in the arts field, delimiting the work authorship and what characterizes it. Eduardo Kac´s art works are set easily over a polemic territory and a freaking debate, sometimes masking their real discursive potential. Our look intends to be faithful to the object, better said, to the studied works, cleaning them up to a more truthful appreciation and dynamic, with use of creative energies, and putting the work and the artist in their real places in the contemporary art field.

Esta dissertação analisa a obra tecnológica, midiática e biológica do artista brasileiro Eduardo Kac, sobretudo os trabalhos realizados de 1984 até 2004. Os projetos foram reunidos em grupos temáticos e conceituais, denominados, principalmente, de "arte da telepresença" e de "arte biológica", expressões utilizadas pelo artista. A metodologia empregada foi a de posicionamento histórico e comparação entre obras, dentro de um contexto de análise crítica. Elementos do processo criativo foram indicados e tornam-se uma das bases sobre a qual o artista ergue sua poética. As obras e projetos de Kac evocam inúmeras perguntas e reflexões, como os limites entre arte e vida, as relações do homem com a máquina e os limites éticos de atuação e intervenção do ser humano na natureza. São fronteiras que marcam questionamentos e inquietações do artista, sempre em busca de renovações estilísticas, técnicas e conceituais sobre os resultados Dentre os objetivos principais desta pesquisa estão a compreensão das características autorais de tais obras multidisciplinares, com foco nos diversos tipos de "autores" presentes, desde o autor ou co-autor inicial, passando pelos auxiliares operacionais, até participadores ou interatores definitivos, que atualizam a obra em seu status de exibição. Foi buscado como determinar o momento da criação no campo das artes, delimitando a autoria da obra e o que a caracteriza. Os trabalhos artísticos de Eduardo Kac situam-se com facilidade sobre os terrenos da polêmica e do debate frenético, às vezes camuflando suas reais potencialidades discursivas. Nosso olhar pretende ser fiel ao objeto, ou seja, às obras estudadas, limpando-as para uma apreciação mais verdadeira e dinâmica, com aproveitamento de energias criativas, e situando a obra e o artista em suas reais locações no terreno da arte contemporânea. / This dissertation analyses the technological, multimedia and biological work of the Brazilian artist Eduardo Kac, beyond their works done from 1984 to 2004. The projects were gathered in thematic and conceptual groups, denominated, mainly, "telepresence art" and "biological art", expressions used by the artist. The methodology implemented was the historical position and the comparison among works, within a context of a critical analysis. Elements of the creative process were indicated and became one of the bases where the artist builds up his poetic. Kac´s works and projects evoke several questions and reflections, as the limitations between art and life, the relationship between a man and a machine and the ethical boundaries and the action and intervention of the human beings in the nature. They are boundaries that set the artist`s questions and concerns always searching for stylistic renovations, technical and conceptual about the results. Among the main objectives of this research are the comprehension of the authorship characteristics of such multidisciplinary works, focused on several types of present "authors", since the initial author or co-author, passing through operational helpers, till participants or definitive interactors who update the work in its exhibition status. It was searched how to determine the moment of creation in the arts field, delimiting the work authorship and what characterizes it. Eduardo Kac´s art works are set easily over a polemic territory and a freaking debate, sometimes masking their real discursive potential. Our look intends to be faithful to the object, better said, to the studied works, cleaning them up to a more truthful appreciation and dynamic, with use of creative energies, and putting the work and the artist in their real places in the contemporary art field.

A pesquisa consiste numa análise comparativa entre três eventos no contexto das comemorações dos 500 anos da chegada dos portugueses ao Brasil: uma mostra cultural em São Paulo, intitulada Bienal + 500; um ato oficial em Porto Seguro, onde foi assinado um Tratado de Cooperação e Amizade entre Brasil e Portugal e um projeto alternativo de arte e tecnologia denominado Projeto Perforum este último concebido por Artur Matuck em colaboração com um grupo de artistas inovadores, que contestavam a representação eurocêntrica e triunfalista dos eventos oficialmente propostos. O Projeto Perforum pretendia envolver grupos étnicos e culturas que participaram do processo de formação da nação brasileira, buscando o diálogo entre elas. Por outro lado, em termos de linguagem artística, experimentava-se com a Arte Telemática compreendendo-se esta como a arte desenvolvida no eixo das telecomunicações, ou seja, aquela que ocorre da transmissão eletrônica de informações, pelo uso de telefones, equipamentos de fax, redes de computadores, televisão, satélites ou videoconferências. / This research aims to provide a comparative analysis of three events in the context of the celebrations of the 500th anniversary of the discovery of Brazil: A cultural exhibition in Sao Paulo, titled Bienal + 500, an official diplomatic act in Porto Seguro, where it was signed a Treaty of Friendship and Cooperation between Brazil and Portugal, and an alternative project of art and technology called Project Perforum the latter designed by Artur Matuck in collaboration with a group of innovative artists who challenged the triumphalist eurocentric officially proposed celebrations by the time. The Project Perforum intended to involve ethnic groups and cultures who participated in the process of formation of the Brazilian nation, intending a dialogical paradigm between these cultures. Moreover it proposed a series of experiments with the emerging telematic art this being understood as the art developed in the sphere of telecommunication, that is, one that occurs while transmitting electronic information through the use of mobile equipment, fax, computer networks, television, satellites, or videoconferencing.

Esta dissertação analisa a obra tecnológica, midiática e biológica do artista brasileiro Eduardo Kac, sobretudo os trabalhos realizados de 1984 até 2004. Os projetos foram reunidos em grupos temáticos e conceituais, denominados, principalmente, de "arte da telepresença" e de "arte biológica", expressões utilizadas pelo artista. A metodologia empregada foi a de posicionamento histórico e comparação entre obras, dentro de um contexto de análise crítica. Elementos do processo criativo foram indicados e tornam-se uma das bases sobre a qual o artista ergue sua poética. As obras e projetos de Kac evocam inúmeras perguntas e reflexões, como os limites entre arte e vida, as relações do homem com a máquina e os limites éticos de atuação e intervenção do ser humano na natureza. São fronteiras que marcam questionamentos e inquietações do artista, sempre em busca de renovações estilísticas, técnicas e conceituais sobre os resultados Dentre os objetivos principais desta pesquisa estão a compreensão das características autorais de tais obras multidisciplinares, com foco nos diversos tipos de "autores" presentes, desde o autor ou co-autor inicial, passando pelos auxiliares operacionais, até participadores ou interatores definitivos, que atualizam a obra em seu status de exibição. Foi buscado como determinar o momento da criação no campo das artes, delimitando a autoria da obra e o que a caracteriza. Os trabalhos artísticos de Eduardo Kac situam-se com facilidade sobre os terrenos da polêmica e do debate frenético, às vezes camuflando suas reais potencialidades discursivas. Nosso olhar pretende ser fiel ao objeto, ou seja, às obras estudadas, limpando-as para uma apreciação mais verdadeira e dinâmica, com aproveitamento de energias criativas, e situando a obra e o artista em suas reais locações no terreno da arte contemporânea. / This dissertation analyses the technological, multimedia and biological work of the Brazilian artist Eduardo Kac, beyond their works done from 1984 to 2004. The projects were gathered in thematic and conceptual groups, denominated, mainly, "telepresence art" and "biological art", expressions used by the artist. The methodology implemented was the historical position and the comparison among works, within a context of a critical analysis. Elements of the creative process were indicated and became one of the bases where the artist builds up his poetic. Kac´s works and projects evoke several questions and reflections, as the limitations between art and life, the relationship between a man and a machine and the ethical boundaries and the action and intervention of the human beings in the nature. They are boundaries that set the artist`s questions and concerns always searching for stylistic renovations, technical and conceptual about the results. Among the main objectives of this research are the comprehension of the authorship characteristics of such multidisciplinary works, focused on several types of present "authors", since the initial author or co-author, passing through operational helpers, till participants or definitive interactors who update the work in its exhibition status. It was searched how to determine the moment of creation in the arts field, delimiting the work authorship and what characterizes it. Eduardo Kac´s art works are set easily over a polemic territory and a freaking debate, sometimes masking their real discursive potential. Our look intends to be faithful to the object, better said, to the studied works, cleaning them up to a more truthful appreciation and dynamic, with use of creative energies, and putting the work and the artist in their real places in the contemporary art field.