Reconfiguration of space in environments of telematic creation

Abstract

Analysing performances created from the definition of telematics, you can find that those take place without any audience, since, both from a theoretical and practical perspective, the development of telematics has been largely focused on the phenomenon itself rather than its communicative and interactive relationships. Based on Roy Ascott’s ideas in Telematic Embrace (2007), the following questions emerge: does the “telematic arm” reach the audience? Does this telematic relationship have to stop in the limits of the stage due to the preeminence of the interaction between artists or performers in network? Or can a telematic performance serve as a bridge between the first row (audience) and the proscenium (the producers)? It is also of interest whether telematic performers experience a meaningful collaboration with their remote peers, as it has been described by the telematic pioneers (in network).