New photos by Rob Cruickshank of the final steps of install and testing. Click here to link to the InterAccess flickr photostream.
Location: InterAccess Electronic Media Arts Centre
Address: 9 Ossington Avenue, Toronto
Thursday November 3, 12:00-18:00 (live with Rotterdam 15:00-18:00 EST)
Friday November 4, 12:00-18:00 (live with Rotterdam 15:00-18:00 EST)
Saturday November 5, 09:00-19:00 (live with Rotterdam 09:00-19:00 EST)
Special Events STREAMED FROM ROTTERDAM!
-Thursday November 3, 15:30, Opening Remarks and Artist Presentations
-Friday November 4, 15:00-16:00, world premiere screening of Them F*cking Robots, a documentary about Norman White, directed by Ine Poppe and Sam Nemeth >link
-Saturday November 5, 15:00, Keynote lecture by Arjen Mulder, 16:00, response and commentary on exhibition by Derrick de Kerckhove >link
Live streaming of these events can be watched at InterAccess or on the internet at http://live.v2.nl
Location: V2_Institute for the Unstable Media
Address: Eendrachtsstraat 10, Rotterdam
Thursday November 3, 20:00-23:00 (live with Toronto 20:00-23:00 CET)
Friday November 4, 21:00-23:00 (live with Toronto 21:00-23:00 CET)
Saturday November 5, 14:00-20:00 and 21:30-00:00 (live with Toronto 14:00-20:00 and 21:30-00:00 CET)
-Thursday November 3, 20:30, Opening Remarks and Artist Presentations
-Friday November 4, 20:00-21:00, world premiere screening of Them F*cking Robots, a documentary about Norman White, directed by Ine Poppe and Sam Nemeth >link
-Saturday November 5, 20:00, Keynote lecture by Arjen Mulder, 21:00, response and commentary on exhibition by Derrick de Kerckhove >link
-Saturday November 5, Closing party with custom cocktail begins at 22:00
Live streaming of these events can also be watched on the internet at http://live.v2.nl
HEARSAY was a data work that Laura Kikauka, Carl Hamfelt and Norman White–all artists in the SAI and SAI 2.0 exhibitions–as well as Robert Adrian, did in 1985, one year prior to SAI.
The piece was a telecommunications project in which a message was transmitted around the world to different centres. At each stop, the message had to be translated before being passed on. The work was monitored by A-Space in Toronto. Photos courtesy of Laura Kikauka. More information about the work is available at http://alien.mur.at/rax/ARTEX/hearsay.html.
“If communication has a future, it better be fun. Technology is not sacred. It’s merely functional. The whole world is under its gun. When we are through with the Telephonic Armwrestling performance, we plan to send the device to Ronald Regan and Mikhail Gorbachev. It might save us from the red telephone.” -Derrick de Kerchove, SAI Brochure (1986)
by N. White and D. Back
American born Norman White and Canadian Doug back are Toronto communication artists who specialize in robotics and computer designing for artistic purposes. Both teach at the Ontario College of Art.
Based on an idea by Doug Back, the Telephonic Armwrestling device will enable participants located in Salerno or Paris to arm-wrestle with participants in Toronto using motorized mechanisms which transmit and receive kinaesthetic information via telephone modem signals. The concept has been engineered by Norman White.
“We wanted to send a tactile sensation over the phone” (D. Back).
‘I concentrated my attention on public building works which mimic simple organic systems. My ‘perception machine’, Facing Out Laying Low (1978-86) gleans information about its environment using a variety of sensors, and responds to perceived patterns of change with appropriate movements and sounds” (N. White).
-SAI Brochure (1986)
Displaced Perspectives allows viewers to explore distant environments through the video eyes of a remotely controlled robot. It is a teleguidance system which will allow participants in Salerno or Paris to explore a site in Toronto by directing a small video camera mounted on a remotely-controlled robot, which transmits real-time digitized images via the Macintosh computer “MacVision” system.
“This ability to see, and control a machine, across the Atlantic is the most visible part of the piece, yet conceptually it is only a surface element. The true power of the piece lies in its definition of communication as an interactive explorative process which results in the construction of a 3-dimensional mental model. The robot uses the same scanning process people use when entering any new space; they look all over and build up a 3-dimensional model from many different perspectives. It is this definition of communication: many small pieces making up something greater than the whole, which lies at the heart of this piece” (G. Smith). -SAI Brochure (1986)