Tuesday, April 29, 2008

Defining Scope: "Sensory Broadcasting"

http://en.wikipedia.org/wiki/Telepresence
Telepresence refers to a set of technologies which allow a person to feel as if they were present, to give the appearance that they were present, or to have an effect, at a location other than their true location.

Telepresence requires that the senses of the user, or users, are provided with such stimuli as to give the feeling of being in that other location. Additionally, the user(s) may be given the ability to affect the remote location. In this case, the user's position, movements, actions, voice, etc. may be sensed, transmitted and duplicated in the remote location to bring about this effect. Therefore information may be travelling in both directions between the user and the remote location.

Most often, currently feasible telepresence gear leaves something to be desired; the user must suspend disbelief to some degree, and choose to act in a natural way, appropriate to the remote location, perhaps using some skill to operate the equipment. In contrast, a telephone user does not see herself as "operating" the telephone, but merely talking to another person with it. A goal of telepresence developers might be to similarly have their users lose direct awareness of the equipment they are using.

Comparison with virtual reality

Telepresence refers to a user interacting with another live, real place, and is distinct from virtual presence, where the user is given the impression of being in a simulated environment. Telepresence and virtual presence rely on similar user-interface equipment, and they share the common feature that the relevant portions of the user's experience at some point in the process will be transmitted in an abstract (usually digital) representation. The main functional difference is the entity on the other end: a real environment in the case of telepresence, vs. a computer in the case of virtual reality.

Telepresence art

In 1998, Diller and Scofidio created the "Refresh", an Internet-based art installation that juxtaposed a live web camera with recorded videos staged by professional actors. Each image was accompanied with a fictional narrative which made it difficult to distinguish which was the live web camera.
In 1993, Eduardo Kac and Ed Bennett created a telepresence installation "Ornitorrinco on the Moon", for the international telecommunication arts festival "Blurred Boundaries" (Entgrenzte Grenzen II). It was coordinated by Kulturdata, in Graz, Austria, and was connected around the world.


From ITV To Sensory TV. http://findarticles.com/p/articles/mi_hb5103/is_200006/ai_n18545350CED, June, 2000 by ARLEN, GARY
(need to pay for article)

The skin-altering campaign acclimated a generation of consumers to the subcutaneous chip insertions that became widespread about 2009. At first, these truly embedded microprocessors were used for in-body release of calibrated medical doses and eventually for psychotropic treatments.

TV Sensory linked to Deprivation/Overload sensory cinematics (also not a connected concept)


http://www.vasulka.org/Kitchen/PDF_ExpandedCinema/ExpandedCinema.html
This book is available in PDF format by individual chapters or as a whole.

Foreword (144K)

Part One: The Audience and the Myth of Entertainment (156K)

Part Two: Synaesthetic Cinema: The End of Drama (688K)

Part Three: Toward Cosmic Consciousness (355K)

Part Four: Cybernetic Cinema and Computer Films (883K)

Part Five: Television as a Creative Medium (764K)

Part Six: Intermedia (666K)

Part Seven: Holographic Cinema: A New World (212K)

Bibliography (68K)

Index (44K)

Color Plates (866K)

Expanded Cinema by Gene Youngblood (1970),
http://en.wikipedia.org/wiki/Expanded_Cinema
the first book to consider video as an art form, was influential in establishing the field of media arts. In the book he argues that a new, expanded cinema is required for a new consciousness. He describes various types of filmmaking utilising new technology, including film special effects, computer art, video art, multi-media environments and holography.


http://gender.khm.de/futurebodies/abstracts_d/sofoulis.htmlZoë Sofoulis
(possible tangent)
Cyborgs and Other Hybrids.
The Human, the Non-Human and the Sociotechnical
Many readers of Haraway’s Cyborg Manifesto have celebrated the cyborg as a kind of post-human subject. From the point of view of Bruno Latour’s actor-network theory it is possible to read the cyborg simply as another hybrid sociotechnical entity. Latour’s notions of the agency of non-humans are helpful (not to mention important background for Haraway) but are problematic in the way they conceive of non-human actors in terms that enshrine a certain humanist notion of a “fully-fledged” subject. This lecture will argue that instead of leaping from the “non-human” to “post-human” we could use a better worked out account of prelinguistic modes of human subjectivity and agency to appreciate the relations between human and non-human actors.

volumetric display device
http://en.wikipedia.org/wiki/Volumetric_display
See also

[edit] External links
Posted by at
Labels:

No comments:

Post a Comment

Subscribe to: Post Comments (Atom)