Friday, January 23, 2009

Sonic Bridge

Friday, January 23 (9:30 p.m. CST / 1:30 a.m. Buenos Aires)

Hundreds of miles of wall and fence stretch along the U.S.-Mexico border, and the U.S. Immigration Policy could change soon since Barack Obama is now the U.S.’s 44th President. Performers at Brown Rice were part of a telematic performance event which perpendicularly ran through the U.S.-Mexico border wall/fence, in conjunction with sound artists and musicians who live here in Mexico City and Buenos Aires. Artists in these remote locations interacted with each other in real time --

1. in Buenos Aires: Azucena Losana, Matthew Golombisky (upright bass), Jorge Crowe, and Colectivo BUENISSSIMO (Agustin Genoud, Josefina Zuain, Valeria CaamaƱo, and Leonello Zambon)

2. in Mexico City: Amanda Gutierrez, Ezequiel Netri Collective with Tito, Kai Kraatz, Jaime Villareal, and Changorama Collective (Rafael Cauto, Zaratustra Vasquez, and David Somellera)

3. at Brown Rice: Christopher Preissing (flute), Gregory O'Drobinak (arc of the oven), Williwaw (amplified ukulele), Jayve Montgomery (reeds and percussion), and Dan Godston (trumpet)

Although people have many different opinions about what should be done about the U.S.-Mexico border/fence and the U.S.’ Immigration Policy, it is a good that ideas and sound can travel freely across borders.

Brown Rice
4432 N. Kedzie Ave., 1st floor
Chicago, IL 60625
Sonic Bridge blog
Brown Rice channel on

Monday, January 19, 2009

Deep Tones for Peace

From Deep Tones for Peace: "Deep Tones for Peace Now! is a daily streaming of live meditations for peace in the Middle East over the internet using" On April 25, a group of bassists including Thierry Barbe, Han Han Cho, Mark Dresser, Lisle Ellis, Dean Ferrell, Ken Filiano, Irina-Kalina Goudeva, Henry Grimes, J.C. Jones, Michael Klinghoffer, Rob Nairn, Chi Chi Nwanoku, William Parker, Barre Phillips, David Phillips, Bertram Turetzky, Sarah Weaver, and James Ilgenfritz will perform an internet performance between Jerusalem and New York. This is an excellent cause, and what a great way to express the desire for peace.

Thursday, January 15, 2009

history of telematic arts

A History of Telematic Art: Australian Perspective

Networked Music & Sound Art Timeline, by Jerome Joy

If you'd like to add a comment to this post, I will add more to this.

contributors to the field of telematic arts

Robert Adrian (Vienna)

Keith Armstrong

Roy Ascott

Nurit Bar-Shai

Bill Bartlett
The Western Front

Liza Bear
Liza Bear's work on VDB

John Bischoff

Chris Brown

Chris Chafe, CCRMA Director, Musician

Scott Deal
Telematic Collective

Mark Dresser
e-lecture entitled "Telematic Performance"
"Tapping into a Mesmerizing Telematic Tapestry at UCSD" (San Diego Union-Tribune article, 11/2/2008)
telematic performance video on youtube

Experiments in Art and Technology (E.A.T.)
E.A.T. Revisited (2008)

Kit Galloway
Electronic Cafe International
Satellite Arts Project '77

Jesse Gilbert

Ken Goldberg

Jo-Anne Green

Jerome Joy (France)

Eduardo Kac

Rafael Lozano-Hemmer

Judy Malloy

Elizabeth Miklavcic and Jimmy Miklavcic
with Another Language Performing Arts Company and the University of Utah Center for High Performance Computing. They have been creating telematic performances since 2003.
Performances created by Another Language (Salt Lake City)
InterPlay: Intransitive Senses (2003)
InterPlay: Hallucinations (2004)
InterPlay: Loose Minds in a Box (2005)
InterPlay: Dancing on the Banks of Packet Creek (2006)
InterPlay: Nel Tempo di Sogno (2007)
InterPlay: Carnivale (2008)

Nam June Paik
Good Morning, Mr. Orwell (1984)

Paul Serman (United Kingdom)

Helen Thorington

Pauline Oliveros
Deep Listening Institute
The Telematic Circle

Sherri Rabinovitz
Electronic Cafe International
Satellite Arts Project '77

Sarah Weaver

Norman White (Canada)
interview with Norman White on the Open Space Gallery website
Telephonic Arm Wrestling (1986)

Robert Whitman

If you add names of individuals in a comment, I could add those to this list.

examples of telematic performances

"North by South" (AlienNation, Houston TX, 5/21/1998)

telematic performances produced by Another Language:
InterPlay: Intransitive Senses (2003)
InterPlay: Hallucinations (2004)
InterPlay: Loose Minds in a Box (2005)
InterPlay: Dancing on the Banks of Packet Creek (2006)
InterPlay: Nel Tempo di Sogno (2007)
InterPlay: Carnivale (2008)
InterPlay: AnARTomy (2009)





If you'd like to comment on this post, I could add to this.

telematic performance check list

Here are several things to cover to consider as you put together your own telematic performance:

* Make sure that all the artists have had enough tech runs so they are comfortable with the hardware and software they are using.

* Make sure that everyone involved is aware of the range of possibilities and limitations that are associated to telematic performances. It would be a good idea for all the artists involved with an upcoming telematic performance to explore the history, current advances, and upcoming potential regarding telematic performances, so they can have a realistic sense of the possibilities and limitations.

* How can the parameters suggested by telematic performances spark ideas about how to creatively investigate and explore new creative possibilities?

* Make sure you have given yourself enough time for tech set up, on the day of the performance.

* Make sure that each remote location has sufficient tech support. The tech support people should be in a chat session while the performance is happening -- so progress can be monitored, dynamics can be communicated to other locations, and creative and meaningful troubleshooting can occur.

* All the artists should be on the same page, in terms of of the performance plan. Whether the event will involve open improvisation, compositions, time constraints, or other dynamics and variables, everyone should be clear with each other and in agreement about what the plan is. If one plan has to be abandoned or adjusted to accommodate a contingency plan, is everyone all right with this potential?

* Is everyone comfortable with "rolling with it," in case something does go awry? Sometimes what seems like a mistake can be integrated into the creative process, with interesting results. If it's not going well, everyone should be comfortable with the performance stopping (at least temporarily) until tech issues can be resolved.

* * *

What are some other possibilities? If you'd like to add a comment, I could add more to this post.

telematics logistics: software & hardware

There are many ways a telematic performance can be set up, in terms of equipment -- so audio (and video) can be transmitted. There are many advantages to doing a performance in a venue (such as a radio station, studio, or some other venue) where the equipment is already there. Internet 2 is the most powerful internet connection you could use, but many venues do not have that connection/capability. DSL or broadband are good. If you decide to do it in another venue where you have to set up the equipment, here are some suggestions:
* Make sure you have good internet connection, preferrably DSL or broadband. Use an ethernet cable, rather than Wifi, since the connection will be better that way. (There is still not a guarantee that the connection will remain constant, and in fact you can count on there being breaks and latency in the connection), but using an ethernet cable can help.
* Make sure you have a good sound interface with your computer. You could just mic the room, but if you can it would be best to mic every instrument.
* Set up monitors so you can hear how the sound mix in the room is working out, as well as the sound that's coming in from the remote locations. A sound engineer should be there to adjust levels. Maybe one person can manage both the sound levels and make sure the internet connection is solid, but you might need two tech/sound people in each venue.

There are other basic set up strategies, but the aforementioned on is a basic one that seems to work.

* * *

Google Talk


Jack Trip

MSN Messenger




1. It is easy to download, install, and use.
1) There are latency issues. Sometimes the delays can be two or more seconds.
2) Since it is geared for talking, it is not very good for simultaneous transmission of sound -- from two or more locations.
3) Although you can set up multiple locations for an audio conference call, you can only see video from two locations simultaneously.
1) Be sure to do a number of tech runs. Make sure the audio heard in each location is at least tolerable. If the audio is too distorted or there are other problems, the settings should be adjusted.


* * *

* What kind of microphones are you using?
* Are you planning on miking the whole room, close miking the instruments, or some other microphone configuration?

If you'd like to add a comment to this, I could add more to this post.

examples of telematic performances in the Chicago area

* Sarah Weaver conducted her Weave Soundpainting Orchestra, and WSO was connected via the internet with an orchestra in Troy, New York. That orchestra was conducted by Pauline Oliveros. This event occurred at the Empty Bottle on 10/25/2006.

* Weave Soundpainting Orchestra was connected with another ensemble during a telematic performance which occurred at Loyola University in 3/2007.

* An emsemble at WNUR performed with an ensemble at Mills College (Oakland, CA), as well as the Jones-Kuhl jazz duo (Richond, VA), on 10/2/2008. Skype was used for the connection with Mills College, and a cell phone was used for the connection with the Jones-Kuhl duo.
* Carol Genetti and Alice Hui-Sheng Chang (Taipei) performed a duet, using a cell phone. This performance occurred at AV-aerie on 10/12/1008. Part of the Third Annual Chicago Calling Arts Festival.

* "Telematic Skip," a telematic performance event connecting musicians, visual artists, and dancers in Taipei, Boston, and Chicago (at Brown Rice on 1/9/09)
* "Sonic Bridge," a telematic performance event connecting sound artists, musicians, and video artists in Argentina, Mexico, and Chicago (at Brown Rice on 1/23/09)

Welcome to the Telematic Arts blog!

The purpose of this blog is to facilitate discussion about telematic arts, including:
* a (somewhat fragmented) history of telematic arts
* backgrounds regarding some individuals and organizations that have contributed to this field
* resources for artists who are interested in organizing their own telematic projects
* examples of telematic practices that have worked and methods that could be fine tuned

Telematic performances have been happening for more than 30 years. Often telematic performances have occurred in academic settings. However, since technology has improved so much over the past several years and a variety of software can be used for telematic performances, more people have been doing telematic performances other venues such as bars, art galleries, converted warehouse spaces, and so on.