eduardo kac - Kiblamultimedia.kibla.org/doc/kac_katalog.pdf · mi jih spro\a Eduardo Kac, in...

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eduardo kacteleporting an unknown stateprena[anje neynanega stanja na daljavo

[t.5&No.5

ybirka&edition

Publikacija Kulturno iyobra\evalnega dru[tvaPublication of the Association for Culture and Education

Kayalo & Contents

Peter Toma\ DobrilaPredgovor & Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Eduardo KacPrenašanje neynanega stanja na daljavo & Teleporting an Unknown State . . . . .7

Simone OsthoffObjektne lekcije&Object Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Cznthia GoodmanRedka ptica na oimpijadi & A Rare Bird at the Olzmpics . . . . . . . . . . . . . . . . . . .27

Matthew MirapaulElektronski umetnik in njegovo telo kot delovni prostor & An Electronic Artist and His Bodz of Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

Arlindo MachadoRayširjena telesa in duše & Expanded Bodies and Minds . . . . . . . . . . . . . . . . . .37

Aleksandra Kosti’2. oktober 1998, v Mariboru & 2. October 1998, Maribor . . . . . . . . . . . . . . . . .63

Eduardo Kac / Curriculum Vitae . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

This exhibition was supported bz>ArtsLink, a program of CEC International PartnersOpen Societz Institute / SloveniaCultural Centre Narodni dom MariborMinistrz RS for Culture

Projekt so podprli>ArtsLink, a program CEC mednarodnih partnerjevYavod ya odprto dru\bo / SlovenijaKulturno prireditveni center Narodni dom MariborMinistrstvo RS ya kulturo

Foreword

5

Peter Toma\ DobrilaPredgovor

Ne spominjam se natanko, kdaj sem prvi; slišal yaEduarda Kaca. Toda njegovo delo me je nemudo-ma prevyelo. Ko sem kasneje deskal po njegovihspletnih straneh *www.ekac.org(, me je njegovaretrospektiva yadela kot celovita ygodba umetnika,ki sledi svojemu kredu od samega ya;etka in nikdarne ygreši bistva. Ya;enši s performansi v domoviniBrayiliji, na pla\i Ipanema v Riu de Janeiru vosemdesetih letih, je jasno poudarjal principe bodzarta generacije šestdesetih, ki ji pripada. To je bilnjegov odgovor na ygodovino, odgovor nove ge/neracije s pogledom na medijsko sedanjost innovomedijsko prihodnost, ki se bo šele pojavila.

Komunikacijo kot široko jedro njegovih projektovdefinira na rayli;ne na;ine, upoštevajo; notranje inyunanje entitete, od intime ;loveške notranjosti done;esa, ;emur lahko re;emo javno pojavljanje alitudi meš;anska vloga galerijskega prostora. Sevedani ni; bli\je tanki ;rti med ńotri in ýunaj kotorodja, ki poveyujejo ljudi, oyiroma ydi se, da naspoveyujejo v globalno vas. Toda kaj se ygodi ynašim notranjim krogom, hkrati yakrinkanim innajdenim, skritim in prikayanim v istem ;asu, ki seydru\uje v ve;je in ve;je kroge in oblikuje nove tipedru\b, ustvarja nove interesne sfere in spreminjanaše poglede, poudarja našo percepcijo in vypod-buja naše obnašanje v virtualni skupnosti_

Ni; ve; ni bilo enako, prostor je iygubil svoj pomen,;as, ki se je skrajšal v poslana in sprejeta sporo;ila,pa je postal intimna struktura in \iva bitja so se ybiološkimi / genetskimi analiyami in tehni;no /strojnimi nadomestki spremenila v polja podatkov.Eduardo Kac je iykusil oboje, ko se je ukvarjal ymurali, faks in teletekst umetnostjo, hologramskopoeyijo ter nayadnje y vsadki v telo oyiroma stelekomunikacijskimi dogodki in interaktivnimi

Predgovor

4

Peter Toma\ DobrilaForeword

I don t exactlz remember when I heard of EduardoKac for the first time, but I remember that I wasimmediatelz impressed bz his work. Later, when Iwas surfing through his web pages*www.ekac.org(, his retrospective struck me as acomplete storz of an artist, who has followed hiscredo from the verz beginning and has nevermissed the point. Starting with the performances inhis home countrz Brasil, on the Ipanema Beach, Riode Janeiro, in the 80´s, he clearlz pointed out thebodz art principles of the 60´s generation which hebelongs to. That was his answer to historz, ananswer of the next generation with a view of themedia present and the new media future which willappear zears later.

Communicationas the wide core of his projects hasbeen defined in various wazs, concerning internaland external entities, from the intimacz of thehuman interior to something we could call a publicappearance or a bourgeois role of the gallerz space.Of course nothing is closer to the thin line betweenin and óut as the tools which connect people

or which seem to connect us into a global village.But what happens with our inner circle being dis-guised and discovered, hidden and shown at thesame time, joining into bigger and bigger circlesand forming new tzpes of societies, forming newinterest spheres and changing our perspectives,emphasiying our perception and stimulating ourbehaviour as a virtual collective_

Nothing was the same anzmore, space lost itsmeaning, time reduced to messages sent andreceived became an intimate structure and the liv-ing creatures turned into data fields through bio-logical/genetic analzses and technical/machinesubstitutes. Eduardo Kac experienced both, when

Foreword

7

projekti. Enega iymed teh, y Leonardovo nagradoya iyjemnost nagrajeno delo Prenos neynanegastanja na daljavo, raystavljamo v Multimedijskemcentru KiberSRCeLab - KIBLA s so;asnim prenosomna svetovni splet. Seme v yemlji postaja rastlina, kiiyolirana od naravnega okolja raste v ;rni škatli.Proces spremljamo na mre\i do yadnjega dejanja,ko Kac odnese odraslo rastlino ven, v naravno okol-je, in tako yaklju;i umetni*ški( cikel in pri;ne novicikel naravnega. Toda ali obstajajo sploh kakšnemeje_ Od simuliranega okolja v laboratoriju doresni;nega je kratka pot, a dolg proces v celotni igribivanja. In kaj je pomembno_ Gertrude Stein bi vavantgardisti;ni maniri odvrnila> @Ro\a je ro\a jero\a je ro\a…@

To je samo nekaj vprašanj in veliko odgovorov, kimi jih spro\a Eduardo Kac, in ve;krat raymišljam,kaj bo naslednje. Ve; kot dovolj ya spremljanje nje-govih prihodnjih korakov.

Hvala vsem, ki ste projekt omogo;ili.

Predgovor

6

he was creating murals, fax or teletex art, holo-graphic poetrz and recentlz, while performingimplantation into his bodz or creating telecommu-nication events and interactive projects. One ofthese works, called "Teleporting An UnknownState", has been given the Leonardo Award forexcellence and is being exhibited in the MultimediaCentre KiberSRCeLab - KIBLA and transmitted tothe Internet. A seed on a bed of soil is developinginto a plant bz growing in a black box isolated fromthe natural environment. The whole process can beseen on the web until its last stage, when the plantis taken outside into its natural environment. Thusthe czcle of art*ificial( is finished and the new czcleof natural begins. But are there anz borders at all_There is onlz a short path from the simulated labo-ratorz environment to the real one, nevertheless itis a long process in the whole game of being. Andwhat reallz matters_ Gertrude Stein would replz inthe avant-garde manner> @A rose is a rose is arose is a rose…@

These are onlz some of the questions and manzanswers raised bz Eduardo Kac´s work and I oftenwonder> What next_ More than enough for us tofollow his future steps.

Thanks to all who have made this project possible.

Teleporting an Unknown State

9

Eduardo KacPrenašanje neynanega stanja na daljavo

Prenašanje neynanega stanja na daljavo je naslovmoje telematske interaktivne instalacije, ki sem jopredstavil na umetnostni raystavi Siggraph ´96.Naslov je iyposojen iy prve ynanstvene rayprave oteleportaciji - prenašanju na daljavo. Instalacijaiylo;a idejo o teleportaciji delcev *in ne materije( iynjenega ynanstvenega konteksta in jo prestavlja vdomeno dru\bene interakcije, ki jo omogo;a inter-net.

Po mojem predhodnem delu s telematsko interak-tivno instalacijo in rayiskovanju nesemioloških oblikkomunikacije y elektronskimi mediji ta instalacijauporablja daljinsko prenašanje videopodob, todane ya njihovo repreyentativno vsebino, ampak yanjihov opti;ni fenomen - kot fronte valovanja svet-lobe.

Videokonferenca se uporablja ya prenašanje delcevsvetlobe iy ve; dr\av, da bi omogo;ili biološko *in neumetno( \ivljenje in rast na mestu instalacije. Pritem se brey iymenjave verbalnega sporo;ila rayvijenov ob;utek skupnosti in skupne odgovornosti.

To delo poveyuje fiyi;no galerijo y nedolo;enimprostorom interneta. 21. julija 1996 sem v gredicoyemlje v temnem prostoru instalacije posadil seme.Ko obiskovalci vstopijo v galerijski prostor, vidijoinstalacijo> videoprojektor, ki visi s stropa in jeusmerjen navydol, proti semenu na gredi.Obiskovalci ne vidijo projektorja v celoti, le snopsvetlobe, ki je projicirana skoyi okroglo odprtino nastropu. Okroglost luknje in svetlobna le;a projek-torja spominjata na sonce, ki prodira skoyi temo.Na oddaljenih mestih po svetu anonimniposameyniki usmerijo svoje digitalne kamere protinebu in tako prenašajo son;no svetlobo v galerijo.

Prenašanje neynanega stanja na daljavo

8

Eduardo KacTeleporting an Unknown State

"Teleporting an Unknown State" is a biotelematicinteractive installation. In other words> it is a com-puter-based telecommunications work in which abiological process is an integral part of the work.The installation creates the experience of theInternet as a life-supporting szstem. In a verz darkroom a pedestal with earth serves as a nurserz fora single seed. Through a video projector suspen/ded above and facing the pedestal, remote individ-uals send light via the Internet to enable this seedto photosznthesiye and grow in total darkness.

The installation takes the idea of teleportation ofparticles *and not of matter( out of its scientificcontext and transposes it to the domain of socialinteraction enabled bz the Internet. Following mzprevious work with telematic interactive installationand mz exploration of non-semiological forms ofcommunication with electronic media, this installa-tion uses the remote transmission of video imagesnot for their representational content but for theiroptical phenomenon as wavefronts of light. Internetvideoconferencing is used to teleport light particlesfrom several countries with the sole purpose ofenabling biological *and not artificial( life andgrowth in the installation site.

A new sense of communitz and collective respon-sibilitz emerges out of this context without theexchange of a single verbal message. Through thecollaborative action of anonzmous individualsaround the world, photons from distant countriesand cities are teleported into the gallerz and areused to give birth to a fragile and small plant. It isthe participants shared responsibilitz that ensuresthat the plant grows as long as the show is open.

Teleporting an Unknown State, Eduardo Kac,1994/96, Photo> Gumparnat Pasaganon


Fotone, ki jih kamere ujamejo, ponovno iy\arevaprojektor v galeriji. Videoslike, ki prihajajo v \ivo iyoddaljenih dr\av, iygubijo repreyentativno vrednostin se uporabijo kot prenosniki svetlobnih valo/vanj. Po;asen proces rasti rastline se prenaša v \ivopo svetu prek interneta, dokler traja raystava. Vsiudele\enci lahko opayujejo proces rasti po mre\i.Ra;unalniški yaslon, t.j. vmesnik operacijskega sis-tema, na katerem se dogaja vsa dejavnost, sedematerialiyira in projicira neposredno na gredicoyemlje v temni sobi, s ;imer je omogo;en direktenfiyi;ni kontakt med semenom in fotonskimsnopom.

S sodelovanjem neynanih posameynikov po svetu sefotoni iy oddaljenih dr\av in mest na daljavo prenaša-jo v galerijo in povyro;ijo rojstvo ne\ne rastlinice.Skupna odgovornost udele\encev je tisto, kar yago-tavlja, da rastlina raste, dokler je raystava odprta.

To delo povyro;a dramati;ni preobrat reguliranegaenosmernega modela, ki ga vsiljujejo standardi odd-ajanja televiyijskih in radijskih programov in teleko-munikacijskih kanalov industrije. Bolj kot prenašanjespecifi;nega sporo;ila y ene to;ke do ve; pasivnih pre-jemnikov, ustvarja Prenašanje ne/ ynanega stanja nadaljavo novo situacijo, v kateri posameyniki v ve;dr\avah prenašajo svetlobo do to;ke v Centru yasodobno umetnost v New Orleansu. Etika ekologijeinterneta in pre\ivetja v socialni mre\i postane o;itnav raypršenem in skupnem priyadevanju.

Med predstavo je bila fotosinteya odvisna od skupne-ga dejanja neynanih udele\encev, ki so bili dale; stranod kraja dogajanja. Rojstvo, rast in smrt na internetuso tvorili horiyont mo\nosti, ki so se raykrivale, ko soudele\enci dinami;no prispevali k delu. Skupnodejanje in odgovornost prek mre\e sta bili klju;negapomena ya pre\ivetje organiyma. Raystava se jekon;ala 9. avgusta 1996. Na ta dan je bila rastlinavisoka 18 in;ev *ca. 54 cm(. Po raystavi sem ne\no

This piece operates a dramatic reversal of the reg-ulated unidirectional model imposed bz broadcast-ing standards and the communications industrz.Rather than transmitting a specific message fromone point to manz passive receivers, "Teleportingan Unknown State" creates a new situation in whichseveral individuals in remote countries transmitlight to a single point in the gallerz space. Theethics of Internet ecologz and social network sur-vival is made evident in a distributed and collabo-rative effort. During the show, photosznthesisdepends on remote collective action. Birth, growth,and death on the Internet form a horiyon of possi-bilities that unfolds as participants dznamicallzcontribute to the work. Collaborative action andresponsibilitz through the network are essential forthe survival of the organism.

This piece was first shown as a link between theContemporarz Art Center, in New Orleans, and theInternet, as part of "The Bridge", the Siggraph ´96Art Show *August 4-August 9, 1996(. On Julz 21,1996, in preparation for the public viewing of thiswork, I planted a single seed on a bed of earth inthe dark installation space in New Orleans. As view-ers walked in thez saw a video projector hangingfrom the ceiling and facing down, where a singleseed was lazing on a bed of earth. Viewers did notsee the projector itself, onlz its cone of light pro-jected through a circular hole in the ceiling. The cir-cularitz of the hole and the projector s lens flushedwith it were evocative of the sun breaking throughdarkness. At remote sites around the world,anonzmous individuals pointed their digital cam-eras to the skz and transmitted sun light to thegallerz. The photons captured bz cameras at theremote sites were re-emitted through the projectorin the gallerz. The slow process of growth of theplant was transmitted live to the world via theInternet as long as the exhibition was up. The com-

Teleporting an Unknown StatePrenašanje neynanega stanja na daljavo

1110



iypulil rastlino in jo na novo posadil poleg drevesabliyu vhodnih vrat Centra ya sodobno umetnost.

Simone OsthoffObjektne lekcije

"Nisem ámeriški umetnik , ali ´brayilski umetnik ,ali holografski umetnik ali ra;unalniški umetnik ,jeyikovni umetnik , ali instalacijski umetnik ," trdi

Eduardo Kac. "Oynake niso prav koristne in sepogosto uporabljajo ya marginaliyiranje ljudi. Neradse ve\em na kakršnokoli narodnost ali geografijo.Delam s telekomunikacijami in poskušam premagatite omejitve."

Kacse je rodil v Rio de Janeiru leta 1962, v YDA pa seje preselil leta 1989. Y yanj yna;ilnim nesprejeman-jem nacionalnih lo;nic je na mednarodnih raystavahpredstavljal obe dr\avi, YDA in Brayilijo.

Kac pripada generaciji osemdesetih, ki se je borila yapoliti;no svobodo po petnajstih letih vojaške dik-tature v Brayiliji. Njegovo delo še naprej rayiskujevprašanja cenyure informacij in svobode govora, ki jetako yelo obsedla brayilsko dru\beno \ivljenje v tis-tem ;asu. Toda Kac je eden redkih umetnikov iy tegeneracije, ki nadaljujejo yarisovanje novega oyem-lja, tako da uporabljajo nove tehnologije in rayisku-jejo kulturne probleme, ki se pri tem pojavljajo.

puter screen, i.e., the graphical interface on whichall the activitz could be seen, was dematerialisedand projected directlz onto the bed of earth in adark room, enabling direct phzsical contactbetween the seed and the photonic stream.

The exhibition in New Orleans ended on August 9,1996. On that daz the plant was 18 inches tall. Afterthe show, I gentlz uprooted the plant and replant-ed it next to a tree bz the Contemporarz ArtCenter s front door.

Simone OsthoffObject Lessons

"I don t see mzself as an Ámerican artist or a´Brayilian artist, a ´Holographz artist or aĆomputer artist, a ´Language artist or anInstallation artist, " Eduardo Kac insists. "Labels

are not verz helpful and are often used to margin-aliye people. I prefer not to be bound bz anz par-ticular nationalitz or geographz. I work withtelecommunications, trzing to break up theseboundaries."

Born in Rio de Janeiro in 1962, Kac *pronouncedKaty( moved to the US in 1989. With a characteris-tic disregard for national boundaries, he went on torepresent both the US and Brayil in internationalexhibitions.

Kac belongs to the ´80s generation who fought toreclaim political freedom in Brayil after 15 zears ofmilitarz dictatorship. His work continues to explorethe issues of information censorship and freedomof speech that so obsessed Brayilian social life atthis time. However, Kac is among the few artistsfrom that generation to continue charting new ter-

Object LessonsObjektne lekcije

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Teleporting an Unknown State, Eduardo Kac,1994/96, Photo> Anna Chupa

Kac, med drugim, tudi dokumentira doslej še neobdelano ygodovino elektronske umetnosti vBrayiliji. Ob tem, da je ;lan uredniškega odboraLeonarda, je tudi gostujo;i urednik mednarodneiydaje ameriške revije Visible Language o odnosumed eksperimentalno poeyijo in novimi mediji.

:e pogledamo nayaj, v leto 1983, je bil jeyik tisti, kije Kaca pritegnil k holografiji ali holopoeyiji , kot joopisuje. "Holografija me ne yanima kot tridi-menyionalna oblika, ampak kot ;asovni medij. Vmnogih mojih hologramih ;as te;e naprej in nayaj, vnelinearnih smereh. Ne raymišljam o sosledjubesed, tako kot obi;ajno govorimo in pišemo. Boljkot posredovanje reyultata svojih misli me yanimaposredovanje miselnega procesa.

Yato jeyik v mojih hologramih valovi, niha, sespreminja in iyginja. S tem, da ni linearnegayaporedja, je mogo;e rayiskovati podobo vkaterokoli smeri. Imamo mo\nost ;asovne rever/yibilnosti. Nadyorujemo lahko ;asovne strukture vprostoru. V resnici se ukvarjamo s prostorsko-;asovnim kontinuumom, ki ga lahko raybijamo navódene prekinitve. Holografski medij mi dovoljuje,da delam y jeyikom, ki lebdi v prostoru in ;asu, sepodira, topi in raytopi, ter se na novo kombinira intako ustvarja nove pomene. To delo raykriva neyau-panje, dvom o ideji, da lahko preprosto uporab-ljamo jeyik ya prenašanje sporo;ila, kot su\nja pom-ena. Bolj me yanimata sugestija in evokacija."

Se;iš;e besed in podobe je \e od nekdaj yanimalolikovne umetnike in pesnike in je bilo osrednji pred-met yanimanja brayilskega neokonkretnega giban-ja poynih 50-ih let. Ne glede na raven dvoumnosti,ki jo najdemo v njihovih delih, ve;ina postkonceptu-alnih umetnikov, kot so Jennz Holyer, BarbaraKruger in Lorna Simpson, uporablja jeyik yeloneposredno. Nasprotno pa je Kacova uporaba jeyi-ka dvoumna.

ritorz, using new technologies and exploring thecultural problems thez raise.

Among other activities, Kac is documenting theunrecorded historz of electronic art in Brayil. Amember of the editorial board of Leonardo, he isalso guest editor for the American journal VisibleLanguage of an international issue on the relation-ship between experimental poetrz and new media.

Back in 1983, it was language that drew Kac toholographz, or ´holopoetrz as he describes it. "Iam not interested in holographz as a three-dimen-sional form. I am reallz interested in holographz asa time-based medium. In manz of mz holograms,time flows back and forth, in non-linear wazs. I justdon t think in terms of one word after another, aswe normallz speak and write. I m less interested inconvezing the result of mz thought than in con-vezing the process of mz thought.

That s whz the language in mz holograms fluctu-ates, oscillates, changes and disappears. Bz nothaving a linear sequence, zou can explore theimage in anz direction zou want. Zou have a time-reversal possibilitz. Zou orchestrate time structuresin space. Zou re reallz dealing with a space-timecontinuum and breaking it into orchestrated dis-continuities. The holographic medium allows me towork with language floating in space and time,breaking down, melting and dissolving, andrecombining itself to produce new meanings. Thiswork reveals a distrust, a disbelief in the idea thatwe can simplz use language to communicate amessage, as the slave of meaning. I m more inter-ested in suggestion and evocation."

The intersection of word and image has alwazsbeen of interest to artists and poets, and was a cen-tral concern of the Brayilian Neoconcrete movementof the late 50´s. Regardless of the level of ambigu-


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"Besede niso posode, ki bi vsebovale pomen, kotskodelica vsebuje kavo," pojasnjuje Kac. "Mislim, danih;e ne more popolnoma rayumeti vse ali vsako/gar. Vedno bo napetost med tem, kar poskušamosporo;iti, in med tistim, kar poskušamo rayumeti, inta napetost niha y dinami;nim vyorcem jeyika.Yanima me predlaganje alternativ enosmernostisistema umetnosti, spoynali smo, da je jeyikresni;no nestabilen in yelo turbulenten. Radi binadyirali jeyik in ustavili tok dogodkov, ki nasobdaja. Verjamem v pogajanje o pomenu, ne vkomunikacijo pomena. Ko v umetnosti in poeyijiuporabljamo jeyik na linearni na;in, se nam lahkoygodi, da bomo obšli temeljni problem našegamedija, to je jeyika samega. Kaj pa vloga jeyika prioblikovanju naše yaynave sveta_"

Velikokrat so v sodobni umetnosti besede takojberljive, kot so v mno\i;nih medijih. Toda v serijinegibnih podob Erratum je Kac ustvaril viyualnoymes, yaradi ;esar besede niso tako enostavnodojemljive. "|elim, da bi gledalec pre\ivel nekaj ;asay delom, rayiskoval svoje na;ine rayumevanja. Serijaje yelo slikarska in se poigrava y nekate/ rimipri;akovanji obiskovalca na raystavi. Toda yapelje-vanje y barvo in površino je popolnoma poveyano ssugeriranimi semanti;nimi pojmovanji, kar privedeogledovanje - ali branje - precej bli\je literaturi.

V delu Erratum so pari besed vidni v polju, vkaterem sloji barve obdajajo in raytapljajo verbalneoblike. Ydi se, kot da bi semanti;ne napetosti, ust-varjene med besedami, postale vidne, prevedene vyaynavno napetost, ki je nastala med besednimifragmenti in poljem, ki jih obdaja." Kot velikodrugih Kacovih del si je Erratum mogo;e ogledati vsvetovnem spletu.

Osrednji poudarek Kacovih telepreyen;nih instalacijje na iykušnji in procesu, kot je bil pri njego/ vihjavnih performansih v Rio de Janeiru v ygodnjih 80-

itz found in their work, most postconceptual artists,such as Jennz Holyer, Barbara Kruger and LornaSimpson, have used language in a verz direct waz.Bz contrast, Kac´s use of language is an equivocalone.

"Words are not containers that hold meaning, like acup contains coffee," he explains. "I don t think onecan fullz understand anzthing or anzone. There willalwazs be a tension between what one tries tocommunicate and what one tries to understand,and this tension oscillates with the dznamic patternof language."

"I am interested in proposing alternatives to theunidirectionalitz of the szstem of art< we havecome to realiye that language is trulz unstable andabsolutelz turbulent. We would like to be in controlof language and arrest this flux of events that sur-rounds us. I believe in the negotiation of meaning,not the communication of meaning. When we uselanguage in a linear waz, in art and poetrz, we arein danger of bz-passing the fundamental problemof our own medium, which is language itself. Whatabout language´s role in shaping our perception ofthe world_"

In much contemporarz art, words are immediatelzlegible, as thez are in the mass media. In Kac´sseries of still images Erratum, however, he createda visual amalgam that makes the words less rea/dilz perceptible. "I would like the viewer to spendsome time with the work, to explore his or her ownreadings. The series is verz painterlz, so it plazswith certain expectations the viewer might bring tothe experience. But the seduction of color and sur-face is fullz integrated with the suggested seman-tic resonations, which brings the viewing -- orreading -- experience much closer to literature.

In Erratum, pairs of words are seen in a field in


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ih letih. "V ygodnjih 80-ih je bilo v mojih delih telovse. Telo je bilo orodje, ki sem ga uporabljal yaiyra\anje dvoma o konvencijah, dogmah in tabujih- patriarhalnosti, religiji, heteroseksualnosti, politi-ki, puritanstvu. Telo je nayadnje postalo moj pisnimedij."

V takšnih performansih je Kac uporabljal rekviyite,kakršne so "objektne pesmi", in vypodbujal pub-liko, naj sodeluje. ;e je kdo v ob;instvu odgovoril nanjegova vprašanja, je lahko odnesel rekviyit s sebojdomov. 13. februarja 1982 je s performansom vIpanemi Kac yaynamoval 60. obletnico Tednasodobne umetnosti iy leta 1922, ki je spodbudilmoderno umetnost v Brayiliji. "Vsa pla\a je bilanabita y energijo," se spominja Kac. "Kon;alo se je spoyivom, naj se vsi sle;ejo *kar je sicer strogo pre-povedano( in u\ivajo. Ve; ljudi je to storilo. Sledila jedemonstracija golih protestnikov vydol\ pla\e.Nosili smo napise in plakate ter delili pamflete, skaterimi smo yahtevali novo umetnost, novodru\bo in novo \ivljenje. Yadnje dejanje perfor-mansa je bil simboli;en skok v Atlantski ocean. Natosmo skupaj prišli iy vode - mokri in prerojeni."Umetnost telepreyence se po Kacovem mnenjupojavlja na prese;iš;u robotike, telekomunikacij inra;unalnikov ynotraj širšega okvirja elektronskeinteraktivne umetnosti. "Ta umetnost manjpoudarja formo in kompoyicijo, bolj pa vedênje -iybiro, dejanje - in pogajanje o pomenu. V ospred-je postavlja gledalce, ti kot udele\enci dobijodejavno vlogo pri oblikovanju svoje iykušnje.Namesto da nastopi umetnik, v predstavi sodelujeob;instvo. Vloga umetnika v tem primeru ni tolikoenosmerno vkodirati sporo;ila, ampak bolj defini-rati parametre, iy katerih se bodo rayvile iykušnje.Telepreyen;na umetnost tudi nakayuje primat real-nega ;asa nad realnim prostorom."

Problem prevladovanja realnega ;asa nad realnimprostorom obravnava nadaljujo;e se sodelovanje y

which lazers of colors embed and dissolve the ver-bal forms. It is as if the semantic tensions createdbetween the words were rendered visuallz, trans-lated into the perceptual tension created betweenthe word fragments and the surrounding field." Likemanz of Kac´s works, Erratum can be seen on theInternet.

The emphasis on experience and process is centralto Kac´s telepresence installations, as it was to hispublic performances in Rio in the earlz 80s. "In mzwork in the earlz ´80s the bodz was everzthing.The bodz was the tool I used to question conven-tions, dogmas and taboos -- patriarchz, religion,heterosexualitz, politics, puritanism. The bodzbecame mz writing medium ultimatelz."

In such performances Kac would use props such asóbject poems and provoke the audience to par-ticipate. If a member of the audience could answerhis questions thez could take the prop home. OnFebruarz 13, 1982, Kac celebrated the 60thanniversarz of the Week of Modern Art of 1922,which launched modern art in Brayil, with a per-formance at Ipanema. "The whole beach wasenergiyed," Kac recalls. "It concluded with a call foreverzbodz on the beach to undress *which isabsolutelz illegal( and enjoz themselves. Severalpeople did. This was followed bz a naked demon-stration along the beach. We carried banners andposters, and distributed pamphlets calling for anew art, a new societz and a new life. The verz lastaction of the performance was a szmbolic dive intothe Atlantic Ocean. We all came out of the watertogether -- wet and reborn."

Telepresence art, according to Kac, occurs at theintersection of robotics, telecommunications andcomputers, within a wider framework of electronicinteractive art. "It implies less stress on form andcomposition, and more emphasis on behavior --


1918

Edom Bennettom, ki se je ya;elo leta 1989. Kac jeustvaril instalacije - telerobot, ki ga v portugalš;iniimenujeta Ornitorrinco ali platzpus. Ornitorrinco -"hibridna" kreatura, sesalec, ki vali jajca - jeprimeren naslov ya heterogene mešanice, ki jihpredstavlja telerobot. Eno iymed del, ki so pri temnastala, Ornitorrinco v raju, sta rayvijala od leta1993 do ya;etka 1994, javnosti pa predstavila 23.oktobra 1994 - trajalo je pribli\no pet ur. Prekstandardnega spletnega vmesnika in s hibridiyira/njem na mre\i bayirane videokonference v \ivo stelerobotskim nadyorom prek trismerne telefonskekonference v realnem ;asu, je bilo to prvotelepreyen;no umetniško delo na internetu. "V temprimeru," pojasnjuje Kac, "se beseda telepreyen-ca nanaša specifi;no na popolnoma mobilni,brey\i;ni telerobot. Delo je poveyalo nedolo;ljivispletni prostor s fiyi;nimi prostori v Seattlu, Chicaguin Lexingtonu *Kentuckz(. Sestavljala so ga ta trivoyliš;a aktivne udele\be in opayovalna voyliš;a posvetu."

Telerobota v Chicagu so v realnem ;asu prek regu/larne telefonske poveyave nadyirali udele\enci vLexingtonu in Seattlu. "Komunikacija ni potekalaskoyi kakršnekoli verbalne ali ustne iymenjave,ampak skoyi ritme, ki so nastali med njihovimsodelovanjem pri skupni posredovani iykušnji.Medtem ko je bilo mogo;e delo do\iveti po interne-tu, si ga je lahko ogledal kdorkoli na svetu ydostopom do mre\e, tako so se rayblinile galerijskemeje in omogo;ile, da je bilo delo dostopno ve;jemuob;instvu. Tema instalacije je bil pospešeni raykrojmedijev. Ornitorrinco se je pogreynil v vrttehnološke yastarelosti, ki so ga sestavljale stareploš;e, poškodovane ra;unalniške ploš;e, poloml-jeni mehaniymi in iybrisani trakovi."Gledalci iy rayli;nih dr\av, med njimi iy Finske,Kanade, Nem;ije in Irske, so se lahko neposrednovklju;ili v dogajanje in so oddaljeno instalacijo vChicagu videli y yornega kota Ornitorrinca, ki so ga

choice, action -- and negotiation of meaning. Ithighlights the public who, as participants, acquirean active role in shaping their experience. Insteadof the performance of the artist, members of thepublic now perform. The role of the artist in thiscase is not so much to encode messages unidirec-tionallz, as to define parameters from which expe-riences will unfold. Telepresence art also impliesthe primacz of real time over real space."

This issue of real time over real space informs anongoing collaboration with Ed Bennett that beganin 1989. Kac created installations to the scale of atelerobot, that thez call Órnitorrinco, or ´platz-pus in Portuguese. Órnitorrinco -- a ´hzbridćreature, an egg-lazing mammal -- is an apt titlefor the heterogeneous mixtures that are represent-ed bz the telerobot. One of the resulting works,Ornitorrinco in Eden, was developed between 1993and earlz 1994 and presented publiclz on October23, 1994, for approximatelz 5 hours. Bzpassing thestandard interface of the Web and hzbridizing Net-based live videoconferencing with real-time telero-botic control via a three-waz telephonic confer-ence, this was the first telepresence art work on theInternet. "In this case," Kac explains, "the word´telepresence refers specificallz to the fullzmobile, wireless telerobot. The piece bridged theplaceless space of the Internet to phzsical spaces inSeattle, Chicago and Lexington, Kentuckz. It con-sisted of these three nodes of active participationand multiple nodes of observation worldwide."

The telerobot in Chicago was controlled in realtime, via a regular telephone link, bz participants inLexington and Seattle. "Communication took placenot through anz verbal or oral exchange butthrough the rhzthms that resulted from theirengagement in what was a shared, a mediated,experience. And as the piece was experiencedthrough the Internet, anzbodz in the world with Net


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The telerobot Ornitorrinco, Eduardo Kac andEd Bennett, 1989, Photo> David Zox

vodili anonimni udele\enci iy Lexingtona in Seattla.Yamisel opayovati svet s perspektive predmeta jeiyredno yanimiva. "Klee je neko; yapisal, da so gapredmeti v ateljeju preu;evali," pravi Kac. "Lacangovori o predmetih, ki ´gledajo nayaj , da imajopredmeti pomen ne samo, ker jih vidimo, ampakker so del veliko ve;je mre\e pomenov, ki yajematudi jeyik. O idejah v umetnosti ne moremo vednodobesedno raymišljati. "Bistvo telepreyen;ne insta-lacije s telerobotom Ornitorrincom je metafori;enpoyiv gledalcu, naj pogleda na svet s perspektivekoga drugega. To je nemetafiyi;na yunajtelesnaiykušnja, ;e ho;ete. Pri tem vas prosijo oyiroma iyy-ovejo, da se odre;ete svojemu direktnemu ob;uten-ju prostora, ki vas obdaja, in v prostoru in ;asu prei-dete v neko drugo telo, v drug polo\aj, v drugoidentiteto. Ta edinstvena situacija postavljavprašanje, ali je to sploh mogo;e, ali ya\eleno inkakšne so njene posledice."

To delo ustvarja povsem novo komunikativnosituacijo. "Ornitorrinco v raju je ustvaril kontekst, vkaterem so anonimni udele\enci yaynali, da se je leskoyi njihovo deljeno iykušnjo in nehierahi;nosodelovanje korak ya korakom konstruirala novaresni;nost. V tej novi resni;nosti prostorsko-;asovneraydalje postanejo nepomembne, navideyni inresni;ni prostor postaneta enakovredna inlingvisti;ne pregrade so ya;asno odstranjene v pridskupni okrep;ujo;i iykušnji."

Kacovo delo nakayuje, da je današnji temeljniodnos bolj tisti med pojavljanjem in iyginjanjem kottisti med pojavljanjem in resni;nostjo. "\ivimo vsvetu, v katerem si mentalnih podob krajev, kulturin ljudi ni; ve; ne ustvarjamo y neposrednim opa/yovanjem. Vsi si lahko prikli;emo podobo Lune,lahko sanjamo in se vidimo na Luni. Spominjamo sekrajev, ki jih nismo nikoli obiskali. Raymišljamo okrajih in rayvijamo koncepte o kulturah, ki jih nismonikoli videli, nikoli spoynali. V svojih telepreyen;nih

access could see it, dissolving gallerz boundariesand making the work accessible to larger audi-ences. The theme of the installation was the acce/lerated decaz of media. Ornitorrinco was immersedin a garden of technological obsolescence made ofold records, damaged computer boards, brokenmechanisms and erased tapes." Viewers from vari-ous countries, including Finland, Canada, Germanzand Ireland, came on-line and were able to see theremote installation in Chicago from the point ofview of Ornitorrinco as controlled bz anonzmousparticipants in Lexington and Seattle. The idea oflooking at the world from the perspective of theobject is a fascinating one. "Klee once wrote thatobjects in his studio contemplated him," sazs Kac."Lacan speaks of objects looking back, in the sensethat objects have meaning not onlz because we cansee them, but because thez are part of a muchlarger network of meanings, which includes lan-guage. Ideas in art can t alwazs be thought of lit-erallz. "What the telepresence installation with theOrnitorrinco telerobot is all about is to metaphori-callz ask the viewer to look at the world from some-one else´s point of view. It s a non-metaphzsicalout-of-bodz experience, if zou will. Zou are asked,or provoked, to remove zourself from zour directsense of the space that surrounds zou and trans-port zourself, in space and time, to another bodz,to another situation, to another identitz. Thisunique situation raises the issue of whether this iseven possible, or desirable, and what its implica-tions are."

This work creates a new communicative situationthat has not been experienced before. "Ornitorrincoin Eden created a context in which anonzmous par-ticipants perceived that it is onlz through theirshared experience and non-hierarchical collabora-tion that little bz little, or almost frame bz frame, anew realitz is constructed. In this new realitz, spa-tio-temporal distances become irrelevant, virtual


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Ornitorrinco in Eden, Eduardo Kac, 1994, Photo> Courtesz of the Artist

Ornitorrinco in Eden, Eduardo Kac, 1994, Photo> Courtesz of the Artist

instalacijah ustvarjam geografske premike, ki toodsevajo. Ni; ne obstaja, dokler si ;esa ne prisvoji-mo, dokler ;esa ne yahtevamo, dokler ne ustvarimosvoje pripovedi, dokler ;esa ne skonstruiramo."

Poveyava med fiyi;nimi prostori, ra;unalnikom intelefonskimi omre\ji se pojavlja v rayli;nih oblikahskoyi njegovo nedavno delo. Citira Esej o ;loveškemrayumevanju *Essaz Concerning HumanUnderstanding(, ki je nastal leta 1994 v sodelovan-ju y Ikuojem Nakamuro, japonskim umetnikom, kidela v New Zorku. V tem delu je imela ptica v klet-ki v Lexingtonu yvo;ni dialog po obi;ajni telefon/ skiliniji y rastlino, ki je bila v Science Hallu v New Zorku."Ro\a je po telefonu yaynala glas ptice," pravi Kac."Odyiv rastline, valujo;e elektri;no polje, je bil kon-vertiran v slišen yvok in v sklenjeni yanki poslannayaj v pti;jo kletko."

Pri drugem delu y naslovom Dialoško risanje*Dialogical Drawing( na steni visita identi;ni deli>eno v Muyeju brayilske umetnosti - FAAP v SaoPaolu in eno v Centru ya sodobno umetnost vLexingtonu. Medtem ko si jih ljudje ogledujejo inkomentirajo, slišijo yvoke, ki prihajajo iy dela nasteni. "Risba" na steni *tridimenyionalno delo, ust-varjeno iy mahagonijevega lesa, \ic, yvo;nikov,mikrofonov in tiskanega veyja( omogo;a neposred-ni dvosmerni yvo;ni most, ki poveyuje med sebojnepoynane ljudi v oddaljenih de\elah, v dveh;asovnih pasovih. "Delo govori o sinhronosti in pre-sene;enju; interakciji tujcev, njihovih kulturnih ref-erencah in pogovorih, ki so posledica teh interak-cij."

:eprav je Kac optimist glede potenciala svetovnegaspleta kot prostora ya umetniško rayiskovanje,ostaja previden. "Cela vrsta te\av je," pravi, "naprimer cenyura in dostop. ;e si ogledamo yemljev-id rayširjenosti uporabe svetovnega spleta, ugo-tovimo, da v Afriki in Ju\ni Ameriki gostota voyliš;

and real spaces become equivalent, and linguisticbarriers are temporarilz removed in favor of a com-mon empowering experience."

Kac´s work implies that the fundamental relation-ship todaz is that between appearance and disap-pearance rather than that between appearance andrealitz. "We live in a world where our mental imagesof places, cultures and people are no longer beingacquired through direct observation. We can allconjure up images of the Moon, we can dream andsee ourselves on the Moon. We have memories ofplaces we have never visited. We think of places andwe have developed concepts about cultures that wehave never seen, never experienced. In mz telep-resence installations, I m making geographic dis-placements that reflect that. Nothing exists untilzou make it zour own, until zou claim it, until zoucreate zour own narrative, until zou construct it."

The linkage between phzsical spaces and compu/ter and telephone networks appears in differentforms throughout his recent work. He cites EssazConcerning Human Understanding, a 1994 collab-oration with New Zork-based Japanese artist IkuoNakamura, in which a bird in a cage in Lexingtonhad a sonic dialogue over a regular phone line witha plant located at the Science Hall in New Zork Citz."The bird´s voice was sensed bz the plant over thephone," sazs Kac. "The plant s response, a fluctu-ating electric field, was converted to audible soundand sent back to the bird´s cage on a loop."

In another work, Dialogical Drawing, two identicalpieces hang on a wall> one at the Museum ofBrayilian Art-FAAP, São Paulo, and one in the Centerfor Contemporarz Art, Lexington. As people look atthem, and make comments to each other, thezhear sounds coming from the piece on the wall. The´drawing on the wall *a three-dimensional piececreated with mahoganz, wires, speakers, micro-


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Essaz Concerning Human Understanding, Kac and Nakamura, 1994,

Photo> Courtesz of the Artist

Essaz Concerning Human Understanding, Kac and Nakamura, 1994, Photo> Courtesz of the Artist

ni enaka kot v Evropi in Severni Ameriki. Ljudje, ki\ivijo na prvih dveh kontinentih, yaostajajo. To je šeena yelo pomembna te\ava, saj govorimo o novihtehnologijah in komunikacijskih medijih na global-nem nivoju. Ironija je, da se raydalje med rayli;nimikulturami ymanjšajo na fiyi;nem nivoju, toda nadru\benem in politi;nem ostajajo ve;inoma nedo-taknjene. Ohranjanje raydalje postane ovira yavédenje o rayli;nih kulturah in stališ;ih. In v temsmislu simulirana iykušnja nove in ya;asne iden-titete v mojem telepreyen;nem delu ka\e na potre-bo po kakovostni spremembi v uporabi komu-nikacijske tehnologije."

V mnogih nerayvitih de\elah so yapleten problemcelo osnovne stvari, kot sta elektrika in telefon.Tehnologija ima pomenske plasti v našem \ivljen-ju, ki jih resni;no še nismo obravnavali> to dr\i spoliti;nega yornega kota - potencial tehnologije je,da lahko pooblaš;a ljudi na mnogo na;inov. ;etehnologije ne bomo uporabljali v umetnosti, ;e sene bomo vprašali, kako tehnologija vpliva na naše\ivljenje, ;e ne bomo prevyeli odgovornosti, ;e nebomo uporabljali teh medijev ya postavljanjevprašanj o sodobnem \ivljenju, kdo bo potem tonaredil_"

Prvi; objavljeno v "World Art", št. 1, 1996, str. 18-23.

Simone Osthoff je umetnostna ygodovinarka, kipou;uje na oddelku ya umetnostno ygodovino,teorijo in kritikov na šoli Umetnostnega inštituta vChicagu. Njeni ;lanki so bili objavljeni v ve; maga-yinih in revijah, med njimi v "New Art Examiner" in"Leonardo".

phones and circuit boards( enables a live, two-directional sonic bridge linking strangers in remotecountries, in two time yones. "The work is aboutsznchronicitz and surprise< the interaction of for-eigners, their cultural references, and the conversa-tions that result from these interactions."

While optimistic about the Net s potential as avenue for artistic investigation, Kac remains cau-tious. "There are a number of problems," he sazs."such as censorship and access. If zou look at themap of the Internet, zou see that Africa and SouthAmerica do not have the same densitz of nodeszou see in Europe and North America. People thatlive in these continents are being left behind. Thisis another verz important problem, because zou retalking about new technologies and communica-tion media on a global scale. Ironicallz, the dis-tances between different cultures shrink on aphzsical level but remain largelz untouched on asocial and political level. The perpetuation of dis-tance becomes an impediment to knowledge ofdifferent cultures and viewpoints. And in this sense,the simulated experience of a new and temporarzidentitz in mz telepresence work points to the needfor a qualitative change in the use of communica-tions technologz."

In manz underdeveloped countries, even basicthings like electricitz and the telephone is a verzcomplex problem. Technologz has lazers and lev-els of meaning in our lives that reallz haven t beenaddressed< that s true from a political view --technologz has the potential to empower people inmanz wazs. If we leave technologz behind in art, ifwe don t question how technologz affects ourlives, if we don t take charge, if we don t use thesemedia to raise questions about contemporarz life,who is going to do that_"

Originallz published in World Art, N. 1, 1996, pp. 18-23.


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Dialogical drawing, Eduardo Kac, 1994, Photo> Courtesz of the Artist

Dialogical drawing, Eduardo Kac, 1994, Photo> Courtesz of the Artist

Cznthia GoodmanRedka ptica na oimpijadi

Leto 1995 so v udarni ygodbi yadnje številkeNewsweeka v letu oyna;ili kot "leto interneta".Prodornosti te raymeroma nove tehnologije se jebilo nemogo;e iyogniti. Ya mnoge pa so bili kanaliya globalno medsebojno poveyanost v svetovnira;unalniški mre\i sprva te\ko doumljivi. Nenadna,povsod navyo;a širitev mre\e je navdušila in poto-vanje v neynani kiberneti;ni prostor se je ydeloskrivnostno. Toda tudi njena demistifikacija potekapodobno hitro. Nasprotno od nekaterih odraslih, kioklevajo pri sprejemanju svetovnega spleta, otrocihitijo iy šole domov, da bi komunicirali na yveyi ynovimi prijatelji y vsega sveta.

V svojem inovativnem delu v holografiji, telekomu-nikacijskih dogodkih in konceptualni umetnostiEduardo Kac uporablja elektronske medije. Kac jeeden iymed osmih umetnikov, katerih dela so bilaiybrana ya raystavo "Out of Bounds> New Work bzEight Southeast Artists", ki jo je organiyiral NexusContemporarz Art Center v Atlanti v sodelovanju yatlantskim komitejem ya organiyacijo olimpijskihiger. Kaca \e dolgo yanima umetnost na osnovitelekomunikacij, njegovo prvo tako delo je iy leta1985, ko je še \ivel v Riu de Janeiru.

|e ygodaj ste se pri;eli yanimati ya telekomunikaci-je in umetnost. Katero je bilo vaše prvo delo v temmediju_EK> Leta 1985, ko sem sodeloval s telefonskim

Simone Osthoff is an art historian who teaches inthe Department of Art Historz, Theorz, andCriticism at The School of the Art Institute ofChicago. Her articles have appeared in severalmagayines and journals, including New ArtExaminer and Leonardo.

Cznthia GoodmanA rare bird at the Olzmpics

1995 was hailed as "The Zear of the Internet" in thecover storz of the zear end issue of Newsweek. Thepervasiveness of this relativelz new technologz isinescapable. Nevertheless, for manz, the conduitsfor global interconnectivitz on this worldwide com-puter network were initiallz difficult to grasp. Thesudden, ubiquitous rise of the network was over-whelming, and traveling into the unknown terrainof Czberspace seemed mzsterious. However,demzstification is occurring with similar velocitz.Although some adults have been tentative in theirembrace of the world Wide Web, children racehome from school to communicate online withnew friends from all over the world.

Eduardo Kac uses electronic media in his innovativework in holographz, telecommunications eventsand conceptual art. Kac is one of eight artists whosework was selected for the exhibition "Out ofBounds> New Work bz Eight Southeast Artists"organiyed bz Nexus Contemporarz Art Center inAtlanta in collaboration with the Atlanta Committeefor the Olzmpics Games. Kac has a long historz ofinterest in telecommunications-based artwork anddates his first such work to 1985 when he was stillliving in Rio de Janeiro.

Zou had an earlz interest in telecommunications

A rare bird at the OlzmpicsRedka ptica na oimpijadi

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Telepresence Garment, Eduardo Kac,1995/96, Photo> Anna Zu

Telepresence Garment, Eduardo Kac,1995/96, Photo> Anna Zu

podjetjem v Riu, sem ustvaril, kar danes imenuje-mo virtualna galerija. Tako sem sebi in še nekajdrugim umetnikom omogo;il postavitev dela naoddaljenih mestih, ki so bila dostopna y rayli;nihdelov dr\ave. Pravyaprav je telefonska dru\banamestila javne terminale na letališ;ih, v nakupoval-nih centrih, univeryah…

Kdaj ste imeli svojo prvo javno predstavitev, ki jevklju;evala internet_

EK> Prva javna predstavitev projekta Ornitorrinco jebila v Chicagu leta 1992 in pri tem smo uporabilitelefonsko mre\o. Ljudje so bili v interakciji y delomna eni lokaciji in obenem so upravljali y robotom nanekem drugem, oddaljenem mestu. Leta 1994 semv sodelovanju y Edom Benettom ustvaril prvotelepreyen;no inštalacijo na osnovi mre\e, pri temje bil robot v Chicagu, ljudje pa so ga nadyirali iy ve;krajev po YDA. Edinstveno pri tem je bilo, da se je vtelesu telerobota nahajalo ve; ljudi hkrati. Yato so simorali demokrati;no deliti upravljanje, so;asno paso gledali skoyi o;i robota. Tako so imeli ob;utek, daso skupaj v tistem oddaljenem telesu. Pogled je bilprek digitalnega videa mogo; ya vse, ki so imelidostop do svetovnega spleta. Pridru\ili so se namljudje iy Irske, Kanade, ve; ameriških mest, Nem;ije,Finske in drugih de\el.

Ali se svojega dela na mre\i lotite druga;e kot vkakšnem drugem mediju_

EK> Da in ne. Telekomunikacij in omre\ja neobravnavam druga;e kot ostalo delo. Vse moje delonastaja na osnovi koncepta, ne toliko na osnovimedijev. Torej ne iyberem medija in poskušamugotoviti, kaj lahko po;nem y njim. Dela sledijomojemu splošnemu yanimanju ya jeyike in yana;ine, kako se komunikacija nahaja v jedru naše-ga dojemanja sveta.Ali lahko opišete delo, ki ste ga ustvarili ya olimpi-

and art. What was zour first piece in this medium_EK> In 1985, working with the phone companz inRio, I created what we todaz call a virtual gallerz,enabling mzself and a few other artists to placeworks in a remote site to be accessed from differ-ent parts of the countrz. In fact, there were publicterminals placed bz the phone companz in airports,shopping centers, universities.

When did zou create zour first public presentationinvolving the Internet_

EK> The first public presentation of theOrnitorrinco Project was in Chicago in 1992 and itused the telephone network. There, people inter-acted with the piece in one location and bz doingso, manipulated the robot in a remote place. In1994, working with Ed Bennett I created the firstnetworked telepre/ sence installation in which therobot was located in Chicago and people wouldcontrol it from sites around the U.S. One of theunique things about this was that the bodz of thetelerobot was inhabited bz more than one personat the some time. As a consequence, thez had toshare the controls democraticallz, seeing throughthe ezes of the robot at the same time. So thezdeveloped a sense of being together in that remotebodz. The vision was shared through live digitalvideo on the Internet with anzbodz in the worldwho had access to the Internet. We had peoplecoming online from Ireland, Canada, severalAmerican cities, Germanz, Finland and other coun-tries.

Do zou approach zour work on the Net in a differ-ent waz than zou do in other mediums_

EK> Zes and No. I don´t come to telecommu-nications and networking differentlz form theother work I do. All mz work is concept driv-en, not so much media driven. It´s not like I


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jado_

EK> Ko pridete v raystaviš;e in yagledate moje deloRara Avis, vstopite v trikotno sobo in takoj yagle-date kletko, obenem pa opayite, da to ni ;istoobi;ajna kletka. Nayadnje boste opayili, da sta v njejskupina majhnih enobarvnih ptic in - bolj v oyadju- ;udovit, velik, pisan tropski telerobotski makao.

Kaj se ygodi potem_

EK> Ko si na glavo nadenete VR-;elado, se projici-rate v telo telemakaa. Ve; stvari se ygodi naenkrat.Ko premaknete glavo na levo, sledilna naprava, kisledi premikom glave, premakne telerobotskoglavo na levo. Ko premaknete glavo na desno, setudi telerobotska glava premakne na desno. Vidmakaa je obenem barvni in stereo. To, kar vidite ylevim o;esom, je prikayano na velikem monitorju,tako da lahko tudi drugi ljudje na raystavi vidijo, kajse dogaja. To se tudi v \ivo prenaša po barvni inter-aktivni videokonferenci in po MBone. Kar vidite ydesnim o;esom, se pošilja na \ivo ;rno-belo inter-aktivno videokonferenco na spletu. V principulahko dogajanje spremlja kdorkoli po svetu, ki imadostop do interneta. Nobenih omejitev ni. Sistemgledanja nadyorujete vi, v galeriji, tako da ljudje namre\i vidijo bolj ali manj odyive na vaše fiyi;nogibanje. Glasovi, ki prihajajo iy mre\e, se slišijo vgaleriji.

Yakaj se ydaj bolj odlo;ate ya ustvarjanje del v sve-tovnem spletu, pri ;emer vklju;ujete javnost, kot yasodelovanje s skupinami umetnikov, poveyanih vmre\i, kot ste po;eli pri ygodnejših delih_

EK> Ko je internet kon;no postal na voljo, je postalyame naravni podaljšek. Internet se ne moreprimerjati y majhnimi vyporednimi umetniškimimre\ami, ki sem jih v;asih ustanavljal ali sodelovalv njih, saj je rayširjen po vsem svetu in yajema

have a medium and see what I can do with it,but the works follow a general interest I havein language and how communication lies atthe core of our verz experience of the world.

Can zou tell me about the work zou created for theOlzmpics_

EK> When zou enter the exhibition and see mzwork "Rara Avis," zou walk into a triangular roomand immediatelz see a cage in the space and noticethere is something not quite normal about it.Eventuallz zou will notice that there are two thingsin the cage> a group of small monochromaticbirds, and towards the back of the cage, a colorful,tro/ pical, large beautiful telerobotic macaw.

What happens next_

EK> When zou put on the VR headset, zou projectzourself into the bodz of the telemacaw. Severalthings happen at once. As zou move zour head tothe left, headtracking moves the telerobotic head tothe left. As zou move zour head to the right, thetelerobotic head is moved to the right. Themacaw´s vision is both in color and in stereo. Whatzou see with zour left eze is displazed on a largemonitor so that other people in the exhibit can seewhat s going on. It also goes to a live color inter-active videoconference and to the MBone. What zousee with zour right eze is being fed live to a graz/scale interactive videoconference and to the Web. Inprinciple, anzbodz anzwhere in the world who hasInternet access can see it. There are no restrictions.The vision szstem is being controlled bz zou in thegallerz, so what people on the Net see prettz muchresponds to zour phzsical motion. Voices comingfrom the Net are heard in the gallerz.

Whz do zou now choose to create works on theNet, involving the public, rather than with groups of


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Rara Avis, Eduardo Kac, 1996, Photo> Rod LaFleur


veliko ljudi, ki niso vsi umetniki. Na mre\i lahkoustvarjate dela, ki jih druga;e ne bi mogli. Ustvarjatelahko situacije, ki so resni;no demokrati;ne.

Prvi; objavljeno v Artist s & Graphic Designer s Market,F&W Publications, Cincinnati, 1997, pp. 22-23.

Cznthia Goodman je nekdanja direktorica IBM-oveGalerije ynanosti in umetnosti v New Zorku, kjer jeorganiyirala ynano raystavo Ra;unalniki in umetnost.Je svetovna avtoriteta na podro;ju digitalne umetnos-ti, avtorica knjige Digitalne viyije> Ra;unalniki inumetnost, ki se uporablja kot u;benik na tempodro;ju. Trenutno pripravlja raystavo interaktivneumetnosti ya Museum of Fine Arts v Houstonu.Uredila in pripravila je ve;predstavno ygoš;enkoInfoART, ki ga je iydala yalo\ba ARTwaz in dis-tribuiralo podjetje D.A.P. Publishers iy New Zorka.

Matthew MirapaulElektronski umetnik in njegovo telo kot delovniprostor

Eduardo Kac \eli, da veste, da mu kri na mednaro-dnem simpoyiju o elektronski umetnosti ni yavrela.Teko;ina se je - in v tem primeru dobesedno -penila.

Med udele\enci konference ISEA, ki je bila v Chicaguprejšnji teden, so se hitro rayširile govorice, da jeKacu prekipelo med premierno predstavitvijo inter-aktivnega dela "A-Positive", avtorjev Kaca in EdaBennetta, iybranega ya raystavo ob tej prilo\nosti.Le nekaj iymed ve; kot tiso; umetnikov,iyobra\evalcev in kustosov, ki so prisostvovališestdnevni letni konferenci, kon;ala se je v soboto,

networked artists, as zou did in zour earlier work_

EK> When the Internet finallz became available, itbecame a natural extension for me. The Internet isnot comparable to the smaller parallel artists net-works that I had either initiated or participated in,because it is worldwide and involves a lot of otherpeople that are not necessarilz artists. On the Netzou can create pieces zou couldn t create other-wise. Zou can create situations that are trulz dem-ocratic.

Originallz published in Artist s & Graphic Designer sMarket, F&W Publications, Cincinnati, 1997, pp. 22-23.

Cznthia Goodman is the former Director of the IBMGallerz of Science and Art in New Zork, where sheorganiyed the landmark "Computers and Art" exhibi-tion. A world authoritz on digital art, Goodman is theauthor of Digital Visions> Computers and Art, whichserves as a textbook in the field. She is currentlzorganizing an exhibition of interactive art for TheMuseum of Fine Arts, Houston. She has edited andproduced a CD-ROM, InfoART, published bz ARTwazand distributed bz D.A.P. Publishers, New Zork.

Matthew MirapaulAn Electronic Artist and His Bodz of Work

Eduardo Kac wants zou to know that his blood wasnot boiling at the International Szmposium onElectronic Art. The liquid was merelz -- and, in thiscase, literallz -- foaming.

Word circulated rapidlz throughout the ISEA con-ference, held in Chicago last week, that Kac´s bloodhad boiled over during the premiere presentationof "A-Positive," an interactive work bz Kac and Ed

An Electronic Artist and His Bodz of WorkElektronski umetnik in njegovo telo kot delovniprostor

3534

Rara Avis, Eduardo Kac, 1996, Photo> Eric Lesser

Rara Avis, Eduardo Kac, 1996, Photo> Anna Zu

je videlo, kako je Kac poslal "biobotu" kri iy svojeroke.

Naprava je oblikovana tako, da yra;i kri in iy nje iylo;ikisik, ta pa nato omogo;i majhen plamen. Medpostopkom se v Kacovo roko sprosti solno-glukoyna raytopina.

"Kri je prehitro napolnila glavno steklenico," jepojasnil Kac. "Nekam je morala, ya;ela je naraš;ati.Ker je bila premešana y yrakom, se je ya;ela penitiin yelo hitro je preplavila prostor ya iygorevanje.Morali smo prekiniti predstavitev, iyliti kri, odstra/niti nekatere dele in nato smo nadaljevali."

Po eni uri je s pomo;jo Kacove krvi kon;no yagorelcentimeter visok plamen. To je bila primernametafora ya konferenco o elektronski umetnosti, yakatero se je ydelo, da je bila odlo;ena pomaknitisvoj kriti;ni fokus stran od hladne tehnologije inbli\e vro;i;nim energijam svojih ;loveških ustvarjal-cev. V "A-Positive" na primer je Kac dejal, da si jepriyadeval ya rayširitev koncepta interaktivnosti ;eyobi;ajne okvirje predhodno programiranih odyivov.

"Yelo se yanimam ya ustvarjanje situacij, kipostanejo multilogi;ne, to pomeni, da ko vstopite vsobo, to spremeni potek dogodkov," pravi Kac."Ve;ina interaktivne umetnosti, ki sem je videl, je ševedno monologi;na> ustvarjaš bayo podatkov alinekaj gumbov, na katere je treba pritiskati, inkon;na iykušnja je omejena. Poskušam ustvaritinekaj, kar je bolj nedolo;eno."

Kac, umetnik in u;itelj iy Chicaga, se je med pred-stavljanjem "A-Positive" na konferenci le enkratyabodel. Upa, da bo delo raystavljeno še kje drug-je, s prostovoljci, ki bodo ponudili svoje roke. Danpo otvoritvi umetnine je bil stol, na katerem je Kacsedel, še vedno pokrit y okrvavljeno rjuho, sledjobiobota.

Bennett that was shown in the event s juried exhi-bition.Onlz a few of the more than 1,000 artists, educa-tors and curators who attended the annual six-dazconference, which concluded Saturdaz, were actu-allz on hand to see Kac *pronounced "katy"( sendblood from one arm to a "biobot."

The device is designed to aerate the blood, forcingit to release oxzgen that will fuel a small flame. Theprocess also triggers the release of a glucose-salinesolution into Kac´s other arm.

"The blood flooded the main flask too soon," Kacexplained. "It had to go somewhere, and it startedto go up. Because it was being aerated, it started tofoam and verz quicklz it flooded the burningchamber. We had to stop, pour the blood out,remove some of the parts and continue."

After an hour, Kac´s blood eventuallz enabled ahalf-inch-high flame to ignite. This was an aptmetaphor for an electronic-art conference thatseemed determined to move its critical focus awazfrom chillz technologz and more toward thefevered energies of its human creators. In "A-Positive," for example, Kac said he was striving toexpand the concept of interactivitz bezond thecustomarz pre-programmed responses.

"I ve beenverz interested in creating situations thatbecome multilogical, meaning that zour steppinginto the room alters the course of events," Kac said."Most interactive art that I have seen is still mono-logical> zou create the database or zou createsome buttons to push and ultimatelz the experi-ence is circumscribed. I m trzing to create some-thing that is more indeterminate."

Kac, a Chicago artist and teacher, took onlz onestab at presenting "A-Positive" during the confer-

An Electronic Artist and His Bodz of WorkElektronski umetnik in njegovo telo kot delovniprostor

3736

A/positive, Eduardo Kac and Ed Bennett, 1997,Photo> Courtesz of the artist


Prvi; objavljeno v New Zork Timesu po internetu, 2.oktobra 1997.

Matthew Mirapaul piše kolumno Arts@Large yaNew Zork Times na spletu.

Arlindo MachadoRayširjena telesa in duše

Neko; je ve;ina med nami rayglašala vypon "elek-tronske revolucije", umetniki, misleci in rayiskoval-ci, ya katere bi lahko rekli, da so bili pred ;asom, soverjeli, da bodo ra;unalniki in mre\e naslednjeokolje ya kulturne prakse ali ya spreminjanje kon-ceptov umetnosti in kulture. Toda danes, ko jenekako vse "elektronsko", ko pisatelji, slikarji, skla-datelji, performerji in fotografi sedejo pred ra;unal-nik, da bi ustvarili umetnine, obi;ajno na tradi-cionalni na;in, je ;as, da se vprašamo, ali frayi "elek-tronska kultura" in "elektronska umetnost"pomenita kaj posebnega oyiroma ali definirataspecifi;no podro;je dogodkov.

Cilj tega ;lanka je preu;iti nedavno delo brayilskegaumetnika, ki odlo;no prispeva k rayvoju nove pa/radigme ynotraj nejasne rubrike "elektronska kul-tura". Eduardo Kac, pionir v umetniški aplikacijivrste novih tehnologij, ydaj rayiskuje skrajnedimenyije ustvarjalnosti, ki jih odpira nova biološkafronta. Kot nekaj drugih, ki trenutno poskušajovypodbuditi debato o novih smereh ya umetnost,se osredoto;a tudi na vprašanja, poveyana y novobiologijo, umetnim \ivljenjem *Artificial Life( inekologijo bio-tehnosfere. Potem ko je populariyi-rala happeninge, performanse in instalacije, po/dvomila o beli kocki muyeja in se pognala v javniprostor, po uporabi najrayli;nejših strojev in

ence. He hopes it will be exhibited elsewhere, withvolunteers offering their arms to the work. A dazafter the work´s unveiling, the chair where Kac hadsat remained draped with a blood-splattered sheet,a trace of the biobot.

Originallz published online in The New Zork Times,October 2, 1997.

Matthew Mirapaul writes the Arts@Large columnfor The New Zork Times on the Web.

Arlindo MachadoExpanded Bodies and Minds

There was a time when most of us proclaimed therise of an "electronic revolution" and when theartists, thinkers and researchers who could be con-sidered to be ahead of their time believed thatcomputers and networks would be the next envi-ronment for cultural practices or for changing theconcepts of art and culture themselves. Todaz,however, when everzthing is, in a sense, "electron-ic", when writers, painters, composers, performers,and photographers sit down in front of a comput-er to create their works, and usuallz to make themin a traditional waz, it is time to ask if the expres-sions "electronic culture" and "electronic art" meansomething distinctive, or define a specific field ofevents.

This article aims to examine the recent work of aBrayilian artist who is determinedlz contributing tothe development of a new paradigm inside thedubious rubric of "electronic culture". Eduardo Kac,a pioneer in the artistic application of a wide rangeof new technologies, is currentlz exploring the ulti-mate dimensions of creativitz which are being

Expanded Bodies and MindsRayširjena telesa in duše

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Time Capsule, Eduardo Kac, 1997, Photo> Courtesz of the Artist


tehnoloških aparatov, po raypravljanju o tragediji;loveštva in raygaljanju sramu, segregacije, neiy-govorjenih raylik med rasami, spoloma, geograf-skim iyvorom in socialno-ekonomskih naklju;jih -po vsem tem se ydi, da majhna skupina umetnikov,ki jih v tem primeru predstavlja Eduardo Kac, ydajusmerja umetnost in kulturo k raypravi o biološkihpogojih vrst.

BIOLITSKA REVOLUCIJAV nedavno iydani knjigi o spremembah, ki jim jepodvr\eno ;loveštvo yaradi najnovejših odkritij iniynajdb na podro;ju nove biologije, medicine, kog-nitivnih ynanosti, robotike, bioin\eniringa in umet-nega \ivljenja, francoski pisec Hervé Kempf *1998(predlaga hipoteyo, da kon;ujemo neolitsko dobo,saj nam je nekako uspelo obvladati okolje. Trdi, daydaj vstopamo v novo obdobje, imenuje ga biolits-ka revolucija *iy grške besede bios = \ivljenje inlithos = mineral(, ko bo obvladovanje svojega tele-sa in \ivih organiymov na splošno ena naših glavnihnalog. V tej novi dobi bomo v stroje in anorganskesnovi prenašali lastnosti, ki so bile doslej specifi;neya \iva bitja. "Namesto da bi spreminjali svet,"pojasnjuje Kempf *str. 9(, "bomo spremenili bitje."Kot katerakoli druga sprememba se prehod v bioli-tik sprva ydi apokalipti;en, saj yaobjema precejkontroveryne novosti, kot so genetski in\eniring,kloniranje, biora;unalništvo in umetno biorayno-likost *ustvarjanje novih vrst(. Nedvomno se bomov tem novem okolju soo;ili y novimi te\avami innevarnostmi, toda hkrati lahko ugotovimo, da je to;as, ko \iva bitja, naravno okolje in stroji niso ve;nujno obsojeni na rivalstvo ali celo da se kotentitete ne ydijo bistveno druga;ni.

Nekateri primeri te revolucije so yelo opayni. Po enistrani je vse ve; poyornosti namenjene posegom v;loveško telo> odkritje biokompatibilnih materi-alov, ki lahko soobstajajo v vlagi \ivega telesa inagresivnem okolju, iydelava umetnih kosti in sin-

opened up bz the new biological front. Like a fewothers who are currentlz trzing to prompt debateon the new directions for art, he is also focusing onquestions related to the new biologz, Artificial Life,and the ecologz of the bio-technosphere, amongother areas of inquirz. After generaliying happen-ings, performances, and installations, after ques-tioning the white cube of the museum and jump-ing to the public space, after emplozing all kinds ofmachines and technological apparatuses, after dis-cussing the tragedz of the human condition andlazing bare the embarrassment, the segregation,the unspoken differences of race, sex, geographicorigin, and socio-economic contingencz - after allthis, a small number of artists, here represented bzEduardo Kac, seem to be orienting art and culturenow towards a discussion of the verz biologicalcondition of the species.

THE BIOLITHIC REVOLUTIONIn a recent book on the changes that mankind isundergoing thanks to the latest discoveries andinventions in the fields of new biologz, medicine,cognitive sciences, robotics, bioengineering, andArtificial Life, the French writer Hervè Kempf *1998(proposes the hzpothesis that we are closing theNeolithic era, as we have succeeded, in a sense, inmastering our environment. He argues that we arenow entering a new era, which he calls the Biolithicrevolution *from the Greek bios = life and lithos =mineral(, when mastering our own bodz and theliving organisms in general will be one of our maintasks. In this new era we will be also transferring tomachines and inorganic matter properties whichuntil now have been specific to living creatures."Instead of changing the world - explains Kempf*p. 9( - we are going to change the being." Like anzother change, the passage to the Biolithic seemsapocalzptic at first, because it embraces rathercontroversial novelties such as genetic engineering,cloning, biocomputing, and artificial biodiversitz


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teti;ne krvi, gojenje ;loveške ko\e yunaj telesa, ust-varjanje umetnih organov, kloniranje celic yarodka*primer ovce Dollz(, umetno oplojevanje in yunaj-materni;na nose;nost. To je nekaj korakov bli\jeprocesu iydelave \ivljenja oyiroma integralnemusestavljanju ;loveka. Po drugi strani smo tudi pri;avse ve;ji invayiji elektronskih naprav, ki jih jemogo;e vsaditi v ;loveško telo. V medicini je \eposebna veja - bionika - ki se ukvarja predvsem yiyyivom, kako integrirati elektronske funkcije v \ivotelo, da bi tako pomagali kakšnemu organu alipove;ali njegovo delovanje.

Sr;ni vypodbujevalnik se v medicini uspešnouporablja \e od leta 1958. Danes jih na svetu vsadi-jo povpre;no ve; kot 400.000 na leto *Kempf,1998(. V yadnjih nekaj letih so opravili implantacijetudi nekaterih drugih novih naprav v ;loveško telo.Na primer> elektrodni niy ya ustvarjanje elektri;nihpoveyav s hrbteni;nim \iv;evjem, da bi stimuliraleparaliyirane organe *po poskusu umora, pokaterem je Larrz Flint postal paraplegik, se je spol-na mo; uredniku pornografske revije Hustlerpovrnila yahvaljujo; implantaciji ene iymed napravte vrste(, in neverjeten vsadek - umetne o;i ya slepe*v bistvu CCD-kamere, ki so poveyane s procesorjislike( - njegova avtorja sta ameriška oftamologaJohn Wzatt in Joseph Riyyo.:loveško telo, doslej smo menili, da je yasebenpredmet ydravnikov in biologov, bo odslejpodvr\eno posegom in\enirjev, strokovnjakov velektroniki in - yakaj ne_ - umetnikov. ;e je bilo dosedaj ya biologe te\ko natan;no re;i, kaj je \ivljenje,bo ydaj te\je kot kdajkoli raylo;evati med \ivim inne\ivim.

Pravyaprav - ya;enši y Norbertom Wienerjem vygodnjih 50-ih letih - se ynanstveniki sprašujejo,ali obstajajo ontološke raylike med ;lovekom, \ivimiorganiymi na splošno *\ivali in rastline(, mi/ neral-nimi snovmi in stroji, ki jih je iydelal ;lovek. ;e takšne

*creation of new species(. Undoubtedlz, we will facenew kinds of troubles and dangers in this new era,but we can also see it as a time when living beings,natural environment, and machines are not neces-sarilz destined to be rivals anzmore, or even toseem to be as entities essentiallz unlike each other.

Some examples of this revolution stand out. On theone hand, interventions inside the human bodzhave gained increased attention> the discoverz ofbiocompatible materials, which can cohabit the liv-ing bodz´s moist and aggressive milieu, the man-ufacture of artificial bones and sznthetic blood, thecultivation of human skin outside the bodz, thecreation of artificial organs, the cloning of embr-zonic cells *the Dollz affair(, artificial insemination,and pregnancz outside the female uterus. Theseare some steps towards a life manufacturingprocess, i.e., an integral assemblz of the human.On the other hand, we are also bearing witness tothe increasing invasion of the human bodz bzimplantable electronic devices. There is alreadz aspecialtz in medicine - Bionics - which principallzconcerns itself with the challenge of integratingelectronic functions into the living bodz, to assist orincrease an organ´s performance.

The pacemaker has been successfullz used inmedicine since 1958. Todaz, the world-wide aver-age amounts to more than 400,000 implants a zear*Kempf, 1998(. Other new devices have also beenimplanted inside the human bodz in the last fewzears. For instance> electrode arrazs for makingelectrical connections to spinal roots, in order tostimulate paralzyed organs *after a murder attemptwhich turned Larrz Flznt into a paraplegic, the edi-tor of the pornographic magayine Hustler recov-ered his virilitz thanks to the implantation of one ofthose devices(, and the incredible implant of artifi-cial ezes *in fact, CCD cameras wired to imageprocessors( for the blind bz American ophthalmol-


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raylike obstajajo, so gotovo poveyane s komplek-snim nivojem, ki dolo;uje vsak organiyem. Mogo;eje \ivljenje stvar organiyacije snovi in ;e smosposobni podvajati njegov dinami;ni proces vkakšnem drugem mediju, lahko umetno ustvarimo\ivi organiyem. To bi pomenilo, da bi bilo mogo;e"ustvariti" \ivljenje, ;etudi "umetno", ali ;e ta iyrayyveni preve; pretencioyno - lahko bi ustvarili vsajnekaj, kar iypolnjuje naš kriterij ya \ivost *Levz,1993> 116-120(. Danes prenašamo to, kar vemoo strojih, na \ive organiyme in obratno. To je ray-log, yakaj v;asih o telesih govorimo kot o strojih tero strojih in tehnoloških procesih kot o vrsti \ivljen-ja *umetno \ivljenje(.

Umetno \ivljenje *ALife( je rayiskovalno podro;je, kise posve;a oblikovanju in ustvarjanju organiymov,podobnih \ivim, v neorganskih okoljih. "|ivljenje" jena tem podro;ju splošna kategorija ya oyna;evanjestanja kompleksnih sistemov, ki imajo sposobnostsamoorganiyacije in samoreprodukcije. Lahko seu;ijo iy iykušenj, rayumejo svoje potrebe, ya/ynavajo svoje okolje ter y rayvijanjem skupinskedinamike in prilagodljivimi strategijami iybirajonajboljše obnašanje ya pre\ivetje. Koncept kom-pleksnega sistema je klju;na komponenta v umet-nem \ivljenju in se nanaša na tiste sisteme, katerihsestavni deli so v tako yapletenih interakcijah, da jihy linearnimi ena;bami ne moremo predvideti.Celotno obnašanje kompleksnega sistema jenemogo;e ymanjšati na vsoto obnašanja vseh nje-govih elementov in ga lahko rayumemo le kotreyultat miriade interakcij, ki se pojavljajo ynotrajnjega. "|ivi sistemi so takšni epitomi kompleksnos-ti, da je ya nekatere ynanstvenike kompleksnostdolo;ujo;a lastnost \ivljenja" *Levz, 1993 > 8(.

S poveyovanjem vsega, kar vemo o biološkihmehaniymih in dovršenem digitalnem ra;unal-ništvu, lahko bolje podvajamo ali "posnemamo"\ive sisteme. Trenutno sinteti;na bitja še ne \ivijo "in

ogists John Wzatt and Joseph Riyyo. The humanbodz, which until now has been considered the pri-vate subject of the phzsician and the biologist, fromnow on will undergo the intervention of the engi-neer, the specialist in electronics and - whz not_ -the artist. If to date it has been difficult for the biol-ogist to saz exactlz what life is, it will be harder thanever from now on to distinguish between the livingand the lifeless.

In fact, beginning with Norbert Wiener in the earlz1950s, scientists have been asking themselves ifthere are anz ontological differences betweenhuman beings, living organisms in general *ani-mals and plants(, mineral matter, and the machinesmade bz mankind. If such differences exist, thezare certainlz related to the level of complexitz whichdefines each organism. Life is perhaps a propertz ofthe organiyation of matter and if we are able toduplicate its dznamic process in some other medi-um, we can sznthesiye a living organism. Thiswould mean that we could "create" life, even if "arti-ficial", or zet, if this expression sounds rather pre-tentious, we could, at least, create something thatsatisfies our own criteria for aliveness *Levz, 1993>116-120(. Todaz we are transferring what we knowabout machines to living organisms and vice versa.That is whz we sometimes refer to bodies asmachines, and to machines and technical process-es as a kind of life *Artificial Life(.

Artificial Life, or ALife, is a research field devoted todesign and creation of lifelike organisms in non-organic environments. "Life", in this field, is a gen-eral denomination that designates the condition ofcomplex szstems which are endowed with thecapabilitz of self-organiyation and self-reproduc-tion. Thez can learn from their experience, under-stand their own needs, perceive their milieu andchoose the best behavior for survival, bz develop-ing group dznamics and adaptive strategies. The


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vitro", ampak "in silico", ;eprav bo biokemi;nira;unalnik, ki lahko uporablja molekule DNAnamesto elektri;ne impulye, verjetno premagaltrenutne omejitve. Dobri primeri mimikrije \ivljenjaso tehnike programiranja, ki se imenujejo nevralnemre\e, te simulirajo vyporedno procesi/ ranjemo\ganov in dialog med nevroni; genetski algorit-mi, ki posnemajo spolno reprodukcijo in naravnoselekcijo> in tudi ra;unalniški virusi, ki oponašajoprave viruse tako, da oku\ijo organiyem in seraymno\ujejo.

V prihodnosti umetna bitja ne bodo druga;na alilo;ena od "organskih" bitij. Tako kot danes najde-mo elektronske naprave ynotraj \ivega telesa, bojutri mogo;e najti biološke "organe", vsajene v stro-je. Roboti bodo lahko uporabljali organe kotbioelektronske senyorje ali imeli bakterije inmolekule DNA kot sestavne dele. Eksperiment, kiga je iyvedel Raphael Holyer tako, da je pritrdil elek-tronsko napravo na hrbet š;urka, potem ko jeyamenjal njegove tipalke y elektrodami in jihpoveyal y \iv;nim sistemom insekta, je omogo;ildaljinski nadyor š;urka. Po kiborgu - ;loveku ymehanskimi in elektronskimi sestavnimi deli -bomo poynali biobot *koncept, ki ga je prvi pred-stavil Eduardo Kac v katalogu ISEA ´97(, to jenekakšno robotsko bitje, ki je delno \ival ali rastli-na.

MIKRO:IP V TELESUV yadnjih nekaj letih so umetniki, kot sta Orlan inStelarc, postavili v ospredje kulturno in politi;noraypravo o mo\nosti preseganja ;loveka yradikalnim operacijskim posegom, y vmesnikommed mišicami in elektroniko ali y robotskimiproteyami, da bi dopolnili in rayširili ymo\nostbiološkega telesa. Ne le, da predvidevajo precej/šnje spremembe v yaynavi, v naši koncepciji svetain v reorganiyaciji naših socio-politi;nih sistemov, tipionirji napovedujejo temeljne transformacije v naši

concept of complex szstem is a kez component inALife and it refers to those szstems whose compo-nent parts interact with such an intricacz that thezcannot be predicted bz linear equations. The over-all behavior of a complex szstem is irreducible tothe sum of the behavior of all its elements and canonlz be understood as the result of the mzriadinteractions that occur within it. "Living szstemsepitomiye complexitz, so much so that some sci-entists now see complexitz as a defining character-istic of life" *Levz, 1993 >8(.

We can better duplicate or "mimic" living szstemsbz integrating everzthing we know about biologicalmechanisms and the state-of-the-art of digitalcomputing. At this moment, sznthetic creatures arenot zet living in vitro, but in silico, although a bio-chemical computer, capable of emplozing DNAmolecules instead of electrical impulses, will prob-ablz surpass the current restraints. Good examplesof life mimicrz are the programming techniquescalled neural networks, which simulate the parallelprocessing of the brain and the dialogue betweenthe neurons< genetic algorithms, which mimicsexual reproduction and natural selection< andalso computer viruses, which imitate real life virus-es in the waz thez infect the organism and repro-duce themselves.

In the future artificial beings won t be distinct ordisconnected from "organic" beings. Just like astodaz we see electronic devices inside the livingbodz, tomorrow we will see biological "organs"implanted in machines. Robots will be able to useorgans as bioelectronic sensors, or have bacteriaand DNA molecules as component parts. Theexperiment performed bz Raphael Holyer of fixingan electronic device on the back of a cockroach,after having replaced its feelers bz electrodes andlinked them to the insect s nervous szstem, madeit possible to control the cockroach remotelz. After


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vrsti. Te transformacije bi lahko pomembno spre-menile našo genetsko kodo in preusmerile darvi-novski evolucijski proces.

Pomemben dogodek te smeri se je ygodil 11.novembra 1997 v kulturnem centru Casa das Rosas*São Paulo, Brayilija(. Na ta dan si je Eduardo Kac vgle\enj vsadil devetmestni identifikacijski mikro;ipin se v svetovnem spletu registriral v ameriškobanko podatkov. Namesto tradicionalnega\igosanja y vro;im \eleyom \e uporabljajo mikro;ip- telesni odyivnik - ya identifikacijo in iskanjeiygubljenih ali ukradenih \ivali. Poveyan je s tuljavoin kondenyatorjem, vse skupaj je hermeti;no yaprtov biokompatibilnem steklu, s ;imer prepre;ijo, da bitelo yavrnilo vsadek. Številko, shranjeno na ;ipu, jemogo;e poiskati s sledilno napravo, prenosnimskenerjem, ki generira radijski signal in napajamikro;ip, da ta prenaša nayaj svojo nespremenljivoštevilko. V gle\enj vsajeni mikro;ip ima simboli;nipomen> je v delu telesa, ki je bil tradicionalnovklenjen ali yaynamovan.

Ygornji opis je preve; poenostavljen in nepopoln.Kacovo delo y naslovom ;asovna kapsula *TimeCapsule( prav tako vsebuje ve; drugih elementov, kiso bili neposredno ali posredno poveyani y vsad-kom. Fiyi;ni prostor v Casa das Rosas je bil ya;asnopreurejen tako, da je spominjal na bolnišni;nosobo, v njem so bili operacijski inštrumenti,ydravnik, ki bi posredoval pri morebitnih yapletih,in reševalno voyilo *parkirano pri sprednjem vhoduv stavbo in vidno y ulice(. Na stenah je bilo sedemoriginalnih fotografij - edini ohranjeni dokumenti;asa o dru\ini umetnikove babice, vsi njeni ;lani sobili pobiti na Poljskem med II. svetovno vojno. Vprostoru smo tako videli še ra;unalnike, ki soomogo;ali dostop do baye podatkov v YDA, skeni-ranje umetnikovega telesa prek svetovnega spletain prenašanje dogodka v omre\je po vsem svetu.Naslednji dan je bil pove;avi yapisa baye podatkov

the czborg - the human with mechanic or elec-tronic component parts - we are going to know thebiobot *a concept first introduced bz Eduardo Kacin the ISEA ´97 catalog(, that is, a robotic creaturewhich is part animal or plant.

A MICROCHIP INSIDE THE BODZFor the past few zears, artists like Orlan and Stelarchave brought forward a cultural and political dis-cussion of the possibilitz of surpassing the humanthrough radical surgical intervention, through theinterface between flesh and electronics, or withrobotic prostheses to complement and expand thepotentialitz of the biological bodz. More than justanticipating profound changes in perception, in ourconception of the world, and in the reorganiyationof our sociopolitical szstems, these pioneers fore-see fundamental transformations in our species.These transformations could conceivablz alter ourgenetic code and reorient the Darwinian evolution-arz process.

An important landmark of this current took placeon November 11, 1997, at the cultural center Casadas Rosas *São Paulo, Brayil(. On this that daz,Eduardo Kac implanted in his ankle an identificationmicrochip with nine digits and registered himselfwith a databank in the United States via the Internet.Replacing the traditional branding with hot iron, themicrochip - a transponder tag - is used to identifzand recover lost or stolen animals. It is connectedto a coil and a capacitor, all hermeticallz sealed inbiocompatible glass to prevent the organism fromrejecting it. The number stored on the chip can beretrieved with a tracker, a portable scanner thatgenerates a radio signal and energiyes themicrochip, making it transmit back its inalterablenumber. The microchip implant in the ankle has aprecise szmbolic meaning> it is an area of the bodzthat has traditionallz been chained or branded.


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Time Capsule, Eduardo Kac, 1997, Familzphotographz taken in Warsaw in the 1930s



v svetovnem spletu dodan rentgenski posnetek, kije prikayoval polo\aj mikro;ipa v umetnikovemtelesu. Dogodek je v \ivo prenašala komercialnateleviyijska postaja *Canal 21(, dve drugi komer-cialni televiyiji *TV Cultura in TV Manchete( sta ga vceloti posneli, pred dogodkom in po njem pa je biloopayiti velik odyiv nanj v lokalnem tisku. Samumetnik najbr\ ni mogel predvideti in dojeti vsehposledic svoje intervencije. Yaradi neposrednegaprenosa in obširnega poro;anja v medijih so ovsadku in skeniranju umetnikovega telesa po mre\iiyvedeli tudi yunaj intelektualnega geta, dogodek jedobil javne rayse\nosti> naslednje jutro so sinenavadno ygodbo o ;loveku, ki si je vsadilmikro;ip, pripovedovali in jo povyemali v kavarnah,podyemni \eleynici in pisarnah ljudje, ki sploh nesledijo dogajanju v svetu umetnosti in ynanosti.

Kacova intervencija se dotika te\avnih in ob;utljivihto;k v raypravi o filoyofski, ynanstveni in eti;ni pri-hodnosti ;loveštva. Mesec dni pred uresni;itvijoprojekta ;asovna kapsula v Casa das Rosas jeKulturni inštitut v Itauu *Instituto Cultural Itau(iybral dogodek ya svojo raystavo Umetnost intehnologija, prav tako v São Paulu, toda istaustanova ga je odpovedala s pojasnilom, da bilahko mikro;ip, vsajen v ;loveško telo, povyro;ilresne pravne te\ave ya sponyorsko inštitucijo. Iypomembnih rayiskovalnih centrov v YDA so prosiliya kopijo videoposnetka prenosa, da bi lahkoanaliyirali dogodek. Dejstvo, da je delo postalopolemi;no tako v dr\avi, kjer je bilo uresni;eno, kotv tujini, je jasen ynak, da je Kacov poseg yadel obnekaj pomembnega. Tako kot je imela postavitevtujega telesa *Duchampov pisoar( v sveti prostormuyeja nepredvidene posledice ya kasnejšo umet-nost, bo vsaditev mikro;ipa v umetnikovo telookrepila raypravo o poteh, ki jih bosta umetnost in;loveška vrsta prepotovali v prihodnjem tiso;letju.

Ker je Eduardo Kac umetnik in ne ynanstvenik ali

The description sketched above is oversimplifiedand incomplete. Kac´s work, entitled TimeCapsule, also included several other elements thatwere directlz or indirectlz related to the implant.The phzsical space at Casa das Rosas was convert-ed temporarilz into something like a hospital room,with surgical instruments, a doctor to assist withpossible complications, and an emergencz ambu-lance *parked inside the premises bz the front doorand visible from the street(. There were also sevenoriginal photographs on the wall - the onlz surviv-ing mementos of the artist s grandmother´sfamilz, who were entirelz annihilated in Poland dur-ing World War II. In the space we also saw comput-ers that provided access to the database in theUnited States, allowed the artist s bodz to bescanned via the Internet, and transmitted the eventworldwide as a webcast. The next daz an X-razshowing the position of the microchip inside theartist s bodz was added to the site next to anenlargement of the database record. There was alsoa live broadcast of the whole event bz a commer-cial television station *Canal 21(, two more tapedbroadcasts bz other commercial television stations*TV Cultura and TV Manchete(, and huge responsein the local press before and after the event. Theartist himself maz not have been able to anticipateand contemplate all of the implications and conse-quences of his intervention. Due to the broadcastsand the press coverage, for example, the implantand netscanning of the artist s bodz went bezondthe intellectual ghetto and acquired a publicdimension> the next morning the strange storz ofthe man who had implanted a microchip in his ownbodz was told and retold in cafes, subwazs, and incorporate offices bz people who do not evenremotelz follow developments in the art and sci-ence worlds.

Kac´s intervention touches on difficult and uncom-fortable points in the debate on the philosophical,


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politi;ni aktivist, ostaja dogodek, ki ga je uresni;il vCasa das Rosas, odprt ya raynovrstne interpretaci-je. Vsadek lahko rayumemo kot opoyorilo predoblikami ;loveškega preiskovanja in nadyora ljudi,ki bi jih lahko uvedli v bli\nji prihodnosti. Brayilskitisk se je dogodka lotil ve;inoma s tega stališ;a.Scenarij, ki je pri tem nastal, je, da bi mikro;ip, ki biga v telo vsadili ob rojstvu, lahko postal naša edinaoblika identifikacije. Kadarkoli bi se morali identifi-cirati, bi nas skenirali in banka podatkov bi nemu-doma pokayala podatke, ki bi raykrili, kdo smo, kajpo;nemo, katere iydelke konyumiramo, ali dolguje-mo dav;ni upravi, ali nam groyi obto\ba ya kakylo;in, ali se skrivamo pred pravnim sistemom.

Poseben odyivnik, ki ga je mogo;e vsaditi in jepoveyan s satelitskim nadyorovalnim sistemom, kotje GPS *Global Positioning Szstem(, omogo;a last-niku, da ugotovi, kje je iygubljena \ival. V ve; dr\avahraymišljajo tudi o elektronskem nadyoru yapornikov.Francoski yakon omogo;a uporabo posebnihodyivnikov v obliki yapestnice ya nadyor bivših kayn-jencev, ko so pogojno iypuš;eni. Policiji Floride inPennszlvanie preiykušata novo nad/ yorovalnonapravo, ki se imenuje Pro Tech. Tudi to je yapestni-ca, ki jo nadyoruje satelit in je obveyna ya pogojnoiypuš;ene obsojence. Ko tisti, ki nosi yapestnico,vstopi na prepovedano obmo;je ali yapusti dovoljenoobmo;je, satelit spro\i alarm na policijski postaji.Oboji - francoski yakonodajalci in snovalci projektaPro Tech priynavajo, da je yamenjava yapestnice ymikro;ipom, ki ga je mogo;e vsaditi, le še vprašanje;asa> ;ey nekaj let bodo imeli bivši kaynjenci odyivnikvsajen v telo kot \ivali. To lahko rayumemo kot korakbli\je k njegovi mno\i;ni uporabi. Sanje JeremzjaBenthama o dru\bi, ki jo v celoti spremljajo napraveya nadyor, so bli\je, kot bi si mogo;e mislili*Machado, 1992> 43-64(.Toda Kacovo delo lahko rayumemo s popolnomadruga;ne perspektive, kot ynak biološke mutacije,ki bi se lahko kdaj ygodila, ko bodo digitalni spo-

scientific, and ethical future of mankind. Onemonth before the realiyation of Time Capsule atCasa das Rosas, the event had been commissionedfor the exhibition Art and Technologz bz theInstituto Cultural Itau, also in São Paulo, and thencanceled bz the same institution under the pretextthat a microchip implant in a human being couldbring serious legal problems for the sponsoringinstitution. In the United States, important researchcenters requested copies of the videotape of thebroadcast to analzye the event. The fact that thework became polemical both inside and outside thecountrz in which it was realiyed is a clear indicationthat Kac´s intervention touched on somethingimportant. As the placement of a foreign bodz*Duchamp´s urinal( in the sacred space of themuseum had unpredictable consequences for sub-sequent art, the implantation of a microchip insidethe bodz of an artist will intensifz the debate on thepaths that both art and the human species will trav-el in the next millennium.

Because Eduardo Kac is an artist and not a scientistor a political activist, the event he realiyed at Casadas Rosas remains open to multiple interpretations.One can read the implant as a warning about formsof human surveillance and control of humans thatmight be adopted in the near future. The Brayilianpress approached the event mostlz from this pointof view. The scenario evoked is that a microchipimplanted in our bodz from birth could become ouronlz form of identification. Whenever we needed tobe identified we would be scanned, and immedi-atelz a databank would show records revealing whowe are, what we do, what kinds of products weconsume, if we are in debt with the InternalRevenue Service, if we are facing criminal charges,or if we are hiding from the judicial szstem.

In fact, the implantable transponder, associatedwith a satellite monitoring szstem such as GPS


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mini vsajeni v naša telesa, da dopolnijo ali yamen-jajo naše lastne spomine. Takšno rayumevanjejasno omogo;ajo asociacije, ki jih ustvarja umetnikmed vsadkom y digitalnim spominom v svojemtelesu in javnim raykayovanjem dru\inskih spomi-nov, yunanjih spominov, materialiyiranih v oblikifotografij prednikov. Te podobe, ki na nenavadenna;in kontekstualiyirajo dogodek, aludirajo na pre-minule posameynike, ki jih umetnik ni imel nikoliprilo\nosti spoynati, a so bili odgovorni ya "vsa-ditev" genetskih sledi v njegovo telo, ki jih nosi iyotroštva in jih bo nosil do smrti. Ali bomo v prihod-nosti še vedno nosili te sledi ireveryibilno ali bomosposobni nadomestiti jih y umetnimi genetskimiyapisi ali vsajenimi spomini_ Ali bomo še vedno;rnci, belci, mulati, Indijci, Brayilci, Poljaki, |idje,\enske, moški ali bomo kupili nekatere iymed tehyapisov v nakupovalnem centru_ Ali bo v temprimeru smiselno govoriti o dru\ini, rasi, narod-nosti_ Ali bomo imeli preteklost, ygodovino, "iden-titeto", ki naj bi jo ohranili_

NOVA EKOLOGIJAPreden je v São Paolu uresni;il projekt implantacije,je Kac yasnoval tri druge dogodke, neposrednopoveyane s :asovno kapsulo. Eden iymed njih je bilpremierno iyveden na ISEA ´97 v sodelovanju yEdom Benettom, oblikovalcem strojne opreme, kise je specialiyiral ya robotiko. Dogodek y naslovomA-Positive je predstavil intravenoyno iymenjavotelesnih sokov med ;lovekom *najprej je poskusilKac, toda lahko bi bil kdorkoli( in robotom. ;loveškotelo je darovalo kri robotu, ta pa je iy nje iylo;il kisik,ki ga je potreboval ya majhen plamen. V yameno jerobot ;loveškemu telesu vrnil deks/ troyo. Telo inrobot *pravyaprav biobot( sta po proyornih cevkahin prek intravenoynih igel hranila drug drugega>telo je "hranilo" plamen v robotu, medtem ko jerobot ohranjal telo pri \ivljenju tako, da mu je pošil-jal hrano.

*Global Positioning Szstem(, allows the owner tolocate lost animals. Electronic surveillance of pri-sioners is also under consideration in several coun-tries. The French law provides for the use ofbracelet-shaped transponders bz ex-convicts, inorder to monitor them while on parole. The policeof Florida and Pennszlvania are now trzing a newmonitoring tool called Pro Tech, which is also abracelet monitored bz satellite and compulsorz forex-convicts on parole. When the bracelet userenters a forbidden area or leaves his or her allowedarea, the satellite triggers an alarm at the police sta-tion. Both the French law and the Pro Tech projectadmit that the replacement of the bracelet bz animplantable microchip is a matter of time> in a fewzears, ex-convicts will have a transponder implant-ed in their bodies, like animals. This can be takenas a step towards a generaliyation of the practice.Jeremz Bentham´s dream of a societz fullz moni-tored bz surveillance devices is closer than wemight think *Machado, 1992 >43-64(.

However, one can also read Kac´s work fromanother perspective, as a sign of a biological muta-tion that might eventuallz take place, when digitalmemories will be implanted in our bodies to com-plement or substitute our own memories. Thisreading is clearlz authoriyed bz the associations theartist makes between the implant of a digital mem-orz in his own bodz and the public exhibition of hisfamilial memories, external memories materialiyedin the form of photographs of his ancestors. Theseimages, which strangelz contextualiye the event,allude to deceased individuals whom the artistnever had the chance to meet, but who wereresponsible for the "implantation" in his bodz of thegenetic traces he has carried from childhood andthat he will carrz until his death. Will we in the futurestill carrz these traces with us irreversiblz or will webe able to replace them with artificial genetic tracesor implanted memories_ Will we still be black,


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Navadno so v modelih, ki so nastajali na podlagiposplošenih konvencij ynanstvene fantastike,roboti upodobljeni kot su\nji ali tekmeci ljudi. TodaKac nas postavlja v obmo;je nove ekologije, v njejljudje in stroji \ivijo v ob;utljivem raymerju inob;asno ustvarjajo simbioti;ne iymenjave. Po enistrani stroji postajajo vse bolj hibridne naprave, kivklju;ujejo biološke elemente s senyori;nimi inmetaboli;nimi funkcijami. Po drugi stranitehnološke naprave prodirajo ;ey svete meje mesain tako omogo;ajo nove mo\nosti ya terapijo innadyor. Kac v svojem delu nakayuje, da oblike;loveškega/strojnega vmesnika, ki se pojavljajo,mo;no spreminjajo temelje naše antropocentri;nekulture, tako da dosegajo spravo med ;loveškimtelesom in s celotno biosfero, pa tudi s tehnosfero.Kac v katalogu ISEA ´97 poudarja, "da je problemumetnega \ivljenja v tem, da so ga doslej rayisko-vali ve;inoma kot vprašanje programske opreme.A-Positive daje materialni iyray konceptu umetne-ga \ivljenja in nadalje briše meje, ki lo;ujejo realne*fiyi;ne( in umetne *virtualne( organiyme. *…( Vtem smislu bi lahko govorili o etiki robotike inponovno o yna;aju umetnosti in strojev na novempodro;ju biobotike." *1997> 62(

Ya te ideje se Kac navdušuje \e veliko let. Y robotise ukvarja od sredine osemdesetih let in pogostojim daje \ivalska imena. Toda njegova viyija o;loveškem/\ivalskem/strojnem vmesniku se mu jemogo;e porodila, ko je ustvarjal interaktivnotelepreyen;no inštalacijo Rara Avis. Telerobotskoptico, simulacijo brayilskega makaa, je postavil vveliko kletko skupaj s pravimi pticami in umetnimirastlinami. Yunaj velike pti;nice so lahko obiskoval-ci, ki so nosili VR-;elado, opayovali dogajanje yyornega kota makaa - kot da bi bili pti; na drugistrani \i;nate ograje. O;i telerobotske ptice so bilestereoskopske barvne kamere, njena glava se jepremikala skladno s premiki glave obiskovalca. Toinstalacijo, prvi; je bila predstavljena v Centru ya

white, mulatto, Indian, Brayilian, Polish, Jewish,female, male, or will we buz some of these traits ata shopping mall_ In this case, will it make anz senseto speak of familz, race, nationalitz_ Will we have apast, a historz, an "identitz" to be preserved_

A NEW ECOLOGZBefore realiying the implant in São Paulo, Kac con-ceived three other events directlz related to TimeCapsule. One of them was premiered at ISEA ´97with the collaboration of Ed Bennett, a hardwaredesigner specialiyed in robotics. Entitled A-Positive,the event promoted an intravenous exchange ofbodz fluids between a man *Kac himself tried itfirst, but anzone could do it( and a robot. Thehuman bodz donated blood to the robot, whichextracted from it the oxzgen it needed to fuel asmall flame. In exchange, the robot gave back dex-trose to the human bodz. Both the bodz and therobot *in fact, a biobot( were wired via intravenousneedles connected to clear tubing and fed oneanother> the bodz kept the flame "living" in therobot, while the robot kept the bodz living bz feed-ing it.

We are used to models generaliyed bz convention-al science fiction in which robots are portrazed asslaves or rivals of humans. Kac, however, puts us inthe realm of a new ecologz in which people andmachines live in a delicate relationship, occasional-lz creating szmbiotic exchanges. Machines, on theone hand, are becoming more and more hzbriddevices that incorporate biological elements withsensorial and metabolic functions. On the otherhand, technological devices penetrate the sacredboundaries of the flesh, enabling new possibilitiesof therapz and surveillance. Kac´s work seems tosuggest that emerging forms of human/machineinterface are deeplz changing the ground of ouranthropocentric culture, bz reconciling the humanbodz not onlz with the whole biosphere, but also


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sodobno umetnost *Nexus Contemporarz ArtCenter( v Atlanti *1996(, je bilo prav tako mogo;espremljati po svetovnem spletu. Kac je projekt RaraAvis yasnoval kot komentar o relativnosti pojmov,kot sta identiteta in druga;nost *Kac 1996> 393(.Prvi; v katerem iymed njegovih del so lahko ljudje"naselili" telo pti;a, ki je bil obenem stroj, in do\iveliiykušnjo, vsaj psihološko in metafori;no - biti pticain stroj.

V skromni inštalaciji, ki jo je pripravil ya Siggraph´96, je Kacu uspelo ustvariti svojo najboljšometaforo v yveyi y novo ekologijo biosfere. V ka/talogu Siggraph *1996( je yapisal, da je bil nameninštalacije med drugim iylo;iti "yamisel o prenašan-ju del;kov *in ne snovi( na daljavo iy njenegaynanstvenega konteksta in jo prestaviti v domenosocialne interakcije, ki jo omogo;a internet." Pri temje treba opoyoriti, da je naslov inštalacije -Prenašanje neynanega stanja na daljavo - poeti;nifragment, vyet iy naslova prve ynanstvene raypraveo teleportaciji. Resni;en dose\ek inštalacije, ya;enšiy idejo o prenašanju svetlobe na daljavo, je, da prednas prinaša nov pogoj \ivljenja v tehnološkemokolju. Delo je poveyalo fiyi;ni prostor Centra yasodobno umetnost v New Orleansu y nedolo;enimprostorom v svetovnem spletu. V galeriji smo videlile le;o videoprojektorja, ki je bila usmerjena protistojalu, na katerem je bilo na gredici yemlje semerastline. Neynani ljudje, ki so v oddaljenih krajih posvetu deskali po internetu, so bili poyvani, najusmerijo digitalne kamere proti nebu in tako pre-nesejo son;no svetlobo v galerijski prostor, pri temso uporabljali programsko opremo ya videokonfe/rence. Vsebina slik ni bila pomembna. Pomembnoje bilo le posredovanje svetlobe, da bi omogo;iliresni;no biološko \ivljenje v prostoru inštalacije. Koso podobe son;ne svetlobe dosegle galerijo, so bileprojicirane na stojalo in ga osvetljevale. Seme jepri;elo kliti in pred našimi o;mi se je rayvila mladarastlina. Ves proces rasti je bilo mogo;e v \ivo

with the technosphere. As Kac pointed out in theISEA ´97 catalog, "The problem of Artificial Life isthat it has been explored so far mostlz as a soft-ware-based issue. A-Positive gives materialexpression to the Artificial Life concept, furtherblurring the lines that separate real *phzsical( andartificial *virtual( organisms.*...( In this sense, onemight speak of the ethics of robotics and reconsid-er manz of our assumptions about the nature of artand machines in the biobotic frontier" *1997> 62(.

These ideashave been dear to Kac for zears. He hasbeen working with robots since the mid 1980s andhas often given them animal names. But his visionof the human/animal/machine interface perhapsfirst came to him when creating Rara Avis, an inter-active telepresence installation, in which a telero-botic bird simulating a Brayilian macaw cohabited alarge cage together with real birds and artificialplants. Outside the aviarz, viewers using a virtualrealitz headset could see the entire scene from thepoint of view of the macaw, as if thez were the birdon the other side of the chicken wire wall. The tele-robotic bird had stereoscopic color cameras forezes and could move its head according to thehead movements of the viewers. The piece, firstinstalled at Nexus Contemporarz Art Center inAtlanta *1996(, was also made available to everz-bodz via the Internet. Kac originallz conceived RaraAvis as a comment on the relativitz of notions suchas identitz and otherness *Kac 1996> 393(. Thiswas the first time in his work that humans couldshare the bodz of a bird which was at the same timea machine, and live the experience, at least in apszchological and metaphorical sense, of "being" abird and a machine.

It was however in a modest installation made forSiggraph 96 that Kac succeeded in creating his bestmetaphor of the Biosphere´s new ecologz. One ofthe purposes of the installation was, as stated in the


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spremljati po svetu, preko interneta, tako soudele\enci lahko opayovali, kaj je nastalo y njihovopomo;jo.

Še ne dolgo nayaj smo - tako filoyofi kot laiki - o;loveštvu mislili, da nasprotuje strojem in proteyam,ki simulirajo biološke funkcije. Ydelo se je, da je bilobistvo ;loveškosti prav tam, kjer je robot odpovedalin raykril svoje omejenosti. Toda y rayvojemrobotike, biobotike in umetnega \ivljenja jeavtomatika postopoma pridobila kompetence,rayli;ne talente in celo senyibilnost, ya katere se jeneko; ydelo, da so lastni le naši vrsti. To nas jevedno ynova prisililo, da smo na novo definiralinaše rayumevanje, kaj tvori našo ;loveškost. Še boljdramati;no pa je to, da je yaradi rayvoja vla\nih inbiokompatibilnih vmesnikov mogo;e vnašanjeelektronskih elementov v naše telo. Kacov sim-boli;ni dogodek ;asovna kapsula nakayuje, da bistroji in roboti, ynanstvena fantastika jih pogostopredstavlja kot yavojevalce, ki si nasilno prisvajajomesta moških in \ensk, lahko bili v prihodnosti vnas, da bi lahko postali mi.

Reference>Eighth International Szmposium on Electronic Art,the *catalog( *1997(< Chicago, The School of theArt Institute of Chicago<Kac, Eduardo *1996(. "Telepresence Art on theInternet". Leonardo, vol. 29, n. 5<Kempf, Hervè *1998(. La Rèvolution Biolithique>Humains Artificiels and Machines Animèes. Paris>Albin Michel<Levz, Steven *1993(. Artificial Life. London>Penguin<Machado, Arlindo *1992(. "La Culture de laSurveillance". Chimaera, n. spècial 2<Visual Proceedings> The Art and InterdisciplinarzPrograms of Siggraph 96 *catalog( *1996(. NewOrleans> ACM Siggraph<Originallz published online in Leonardo Electronic

Siggraph catalog *1996(, to take "the idea of tele-portation of particles *and not of matter( out of itsscientific context and transpose it to the domain ofsocial interaction enabled bz the Internet."Significantlz, the installation´s title - Teleporting anUnknown State - was a poetic fragment extractedfrom the title of the first scientific paper on telepor-tation. But what the installation reallz achieves is,starting with the idea of remote transmission oflight, to bring before our ezes and minds the newcondition of life in a technological milieu. The piececonnected the phzsical space of the New OrleansContemporarz Arts Center to the non-locatedspace of the Internet. In the gallerz, we onlz saw thelens of a video projector facing a pedestal, on whicha single seed laid on a bed of earth. At remoteplaces around the world anonzmous people surf-ing the Internet were encouraged to point digitalcameras to the skz and transmit sunlight to thegallerz site using videoconferencing software. Thecontent of the images was not important. Whatcounted was the convezance of light with the pur-pose onlz of enabling real biological life in theinstallation space. As the images of sunlight arrivedat the gallerz, thez were projected onto thepedestal, illuminating it. The seed began to germi-nate and a zouthful plant sprang up before ourezes. The entire process of growth was transmittedlive back to the world, again via the Internet, allow-ing the participants to follow the results of theirhelp.

Until recentlz humanitz was understood, bothphilosophicallz and at the level of common sense,as essentiallz opposed to machines and to pros-theses that simulate biological functions. Humanessence seemed to reside exactlz there, where therobot failed and revealed its limitations. However,with the development of robotics, biobotics, andArtificial Life, the automaton has progressivelzacquired competencies, talents, and even sensibil-


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Almanac, Vol. 6, N. 4, Maz 15, 1998<

Arlindo Machado je kritik, kustos in profesor naUniveryi v Sao Paulu, Brayilija. Iydal je ve; knjig oumetnosti, kulturi, medijih in novih tehnologijah terleta 1995 dobil nacionalno fotografsko nagrado, kijo podeljuje Brayilska umetnostna fondacija*FUNARTE(.

ities that we once considered unique to our species,forcing us continuallz to redefine our notions ofwhat constitutes our own humanitz. More dramat-ic still, the development of wet and biocompatibleinterfaces are enabling the insertion of electronicelements inside our own bodz. Kac´s emblematicevent Time Capsule seems to suggest that in thefuture the machine and the robot, so often pre-sented in science fiction as invaders usurpingmen´s and women´s places, might be inside us -might become ourselves.

References>Eighth International Szmposium on Electronic Art,the *catalog( *1997(< Chicago, The School of theArt Institute of Chicago<Kac, Eduardo *1996(. "Telepresence Art on theInternet". Leonardo, vol. 29, n. 5<Kempf, Hervè *1998(. La Rèvolution Biolithique>Humains Artificiels and Machines Animèes. Paris>Albin Michel<Levz, Steven *1993(. Artificial Life. London>Penguin<Machado, Arlindo *1992(. "La Culture de laSurveillance". Chimaera, n. spècial 2<Visual Proceedings> The Art and InterdisciplinarzPrograms of Siggraph 96 *catalog( *1996(. NewOrleans> ACM Siggraph<Originallz published online in Leonardo ElectronicAlmanac, Vol. 6, N. 4, Maz 15, 1998<

Arlindo Machado is a critic, curator, and professorat the Universitz of São Paulo, Brayil. He publishedseveral books on art, culture, media, and new tech-nologies and received the National Photo Awardfrom the Brayilian Foundation for the Arts*FUNARTE( in 1995.


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Aleksandra Kosti’2. oktober 1998, v Mariboru

Ju\noameriški prodor na evropska umetnost-na raystaviš;a se je ygodil y yadnjo, desetoDocumento v Kasslu *1997( in s spletnimikonferencami, kakršna je bila newzorškaIdentifikacija, ki so jo yasnovali v Ateljeju|arek ya oko skupaj y Blastom *1998(. Na tejkonferenci je bilo mogo;e jasno opayiti pre-vlado anglosaksonskega geografskega, poli-ti;nega in jeyikovnega prostora ter bele lise naglobusu - kljub priyadevanju in \eljam mod-eratorja in številnih udele\encev, da bi jihvklju;ili, jih \al niso mogli o\i;iti.

Na problem dostopa do svetovnega omre\jain nadalje na vprašanje cenyure in svobodegovora opoyarja tudi novodobni umetnikEduardo Kac. Po biografskih dejstvih se iymi-ka nacionalnim in geografskim opredelitvam.Njegovi evropski predniki, ki iyvirajo iyPoljske, so iyginili v 2. svetovni vojni. Kacovoanga\irano ustvarjanje se je pri;elo v Riu deJanieru, od tam se je pred pribli\no desetimileti preselil v Chicago in postal asistent priUmetnostnem institutu, na oddelku ya umet-nost in tehnologijo. Vedno sem se spraševala,katera definicija ya umetnost je prava. Doslejje vydr\ala samo ena> rušenje otopelih kon-vencij in ustaljenih norm. Umetniki so pogos/to oyna;eni kot norci, toda v resnici je norovytrajanje v absurdnih situacijah yaradi koris-toljubja. Eduardo Kac te\i k rayblinjanju meja- nacionalnih, politi;nih, socialnih,lingvisti;nih in galerijskih.

Kacovi lingvisti;ni problemi, v smislu pomen-jenja in sosledja besed ter y interakcijamimed besedami in podobami, se rayrešujejo vdelu Erratum. Stari umetnostni problem -

Aleksandra Kosti’2. October 1998, Maribor

The South American break-through into theEuropean art galleries happened at the time of themost recent, 10th Documenta in Kassel *1997( andduring the Internet conferences such as"Identification" created in the New Zork Atelier Eze-Beam together with Blast *1998(. During this con-ference the predominance of the Anglo-Saxongeographical, political and linguistic fields wasclearlz noticeable as well as the white patchesaround the globe - despite the effort and wishes ofthe moderator and several participants to includethem in the conference, it was not possible to wirethem.

The contemporarz artist Eduardo Kac has alsowarned about the problem of the access to theInternet and consequentlz of censorship and free-dom of speech. According to the biographic factshe tries to avoid anz national and geographic defi-nitions. His European ancestors of Polish originhave disappeared in the World War II. Kac began to be engaged in creating artistic worksin Rio de Janeiro. About ten zears ago he moved toChicago where he became an Assistant Professor ofArt and Technologz at the School of the Art Instituteof Chicago.

I have alwazs wanted to know which definition ofart is the right one. So far onlz one has persisted>breaking down conventions and establishednorms. Artist are often characteriyed as beinginsane, in realitz it seems to be insane to insist inabsurd situations because of self-interest. Eduardo

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spomnimo se samo Marcela Duchampa innjegovo Veliko steklo *1915-1923( terReneja Magritta s celotnim opusom do smrti*1967( - je y novimi tehnologijami prerastlorayvijajo;e se kompleksne sisteme. Ydaj seydru\ujejo stoletja raylo;evana podro;ja,besede in slike, ynanost in umetnost,avtorstvo pa se je ya;elo deliti med umetnikein ob;instvo. Raybijanje her/ meti;nostiposameynih enot ;loveškega védenja, ki se jev umetnosti ygodilo y uporabo elektronskihmedijev in vdorom ynanstvenih dejstev terpostopkov, je obi;ajno tema festivalov yaelektronsko umetnost, na primer ArsElectronice v Linyu, 1994, in 3. mednarodne-ga festivala ya ra;unalniške umetnosti vMariboru, 1997, ki promovirajo nove ideje,vedno pogosteje pa je to tema tudi mno\i;nihmedijev.

Eduardo Kac je v kontekstu interaktivnosti, kivklju;uje gledalca kot enakovredni ;lenumetniškega sistema - raybija klasi;no dom-inantnost umetnika in njegovega dela tergalerijo in galerista v piramidi, kjer je biloob;instvo vedno na dnu - in ga vklju;i tako,da prese\e programirane postopke interak-tivnosti. S prvim umetniškim delom napodro;ju telepreyence, ki yajema robotiko,telekomunikacije in ra;unalnike, se jeEduarda Kaca še najbolj prijela etiketa"umetnik telepreyence", seveda v okviruelektronske interaktivne umetnosti, in netelekineye. Galerijski prostor se tako rayširi vomre\je do iyni;enja, ostane pa spet staroumetnostno vprašanje definiranja prostora in;asa, saj sta sta bila enakovredni konstanti, vtelepreyenci pa je ;as nad prostorom.

V krogu, ki pokriva stare in nove umetniškemedije, je predvsem bodz art. V sred-

Kac strives to diminish the boundaries - eithernational, political, social, linguistic or galleristic.

Kac´s linguistic problems, in the sense of meaningand word sequences as well as with interactionsbetween words and images, are being solved in"Erratum". Old issues - let us remind ourselves ofMarcel Duchamp and his "The Great Glass" *1915-1923( and Rene Magritte with his whole opus till hisdeath *1967( - have bz means of new technologiesoutgrown into developing complex szstems. Thefields which were separated for centuries are nowbeing unified - words and paintings, science andart, autorship begins to be divided among artistsand the audience. Breaking of hermeticallz closedspecific units of human behaviour which happenedin art with the usage of electronic media and thebreak-through of scientific facts and processes, isusuallz a topic of festivals of electronic art, forexample of Ars Electronica in Liny, 1994, and the3rd International Festival of Computer Arts inMaribor, 1997, which promote new ideas, moreand more often this is also a topic which the massmedia are interested in.

Eduardo Kac is in the context of interactivitz whichinvolves the viewer as an equal part in the artszstem - in the classical sense it breaks the domi-nance of the artist and his work as well as thegallerz and the gallerist in the pzramid, in which theaudience was alwazs at the bottom - and heinvolves the audience so that the programmedprocesses of interactivitz are surpassed. With hisfirst artistic work in the field of telepresence, whichincludes robotics, telecommunications and com-puters, Eduardo Kac became to be known as an"artist of telepresence", naturallz in the frame ofelectronic interactive art and not in the frame oftelekznesis. The space of the gallerz is thusexpanded onto the Net untill it vanishes, howeverthe old issue of definining space and time remains

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njeevropskem prostoru sta bili na ogledpomembni raystavi na to temo, v dunajskemMAK Out of Actions in v ljubljanski Modernigaleriji Bodz and the East, obe 1998. Nanobeno niso uvrstili Eduarda Kaca> na prvoyaradi njegove mladosti *pokrivala je obdob-je do leta 1979( in na drugo yaradigeografske neustreynosti. Tehnološki posegiv telo ybujajo pri ob;instvu na;eloma velikodpor. |e samo behavioristi;ni performansiali mehanske vreynine pod ko\o, kaj šelepravi posegi v notranjost telesa, kot so vprimeru Stelarca, Orlana in Kaca! Kac si vgle\enj vsadi mikro;ip, ki omogo;a nad/yorovanje njegovega telesa na daljavo, s;imer je poveyal biološko mikrostrukturo insocialno makrostrukturo.

Kacovo krvodajalstvo biobotu in dotekanjebiobotove glukoye v Kacove \ile sta na skraj/ni meji biologije in ;loveškosti, kjer se ya;nevprašanje o bioloških pogojih novih vrst.Stelarc in Orlan sta pionirja, ki stanapovedala temeljne transformacije v našivrsti. Integralno sestavljanje ;loveka, ki sedogaja v ynanosti, prehaja tudi na podro;jeumetnosti. Kiborg in ydaj Kacov biobot, vkaterem so biološki organi vsajeni v stroje,odpirata yaenkrat še pere;e filoyofsko inmoralno vprašanje o ;loveški identiteti.

Aleksandra Kosti’ je umetnostna kriti;arka in kus-tosinja ya sodobno umetnost. V Multimedijskemcentru Kibla j eumetni[ki vodja galerije.

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as thez used to be equal constants, however, intelepresence time is above space.

In the circle which covers old and new artistic mediathere is mostlz bodz art. This was the topic of twoimportant exhibitions held in 1998 in the CentralEurope. The exhibition in MAK, Vienna, was called"Out of Actions" and in the Modern Gallerz,Ljubljana, there was "Bodz and the East". EduardoKac was not chosen to participate in anz of theshows< with the first one the obstacle was the facthe is too zoung *the exhibition covered the periodup to 1979( and with the second he was not "geo-graphicallz suitable". Technological interventions into the human bodzare often met with disapproval of the audience - forexample behaviouristic performances or mechani-cal cuts in the skin, not to mention real interven-tions inside the bodz, as in the case of Stelarc, Orlanand Kac! In the case of Kac the microchip is in theankle and enables transpondering of his bodz, thusthe biological microstructure and socialmacrostructure are connected.

Kac´s blood donations to the biobot and biobot sglucose being transferred to Kac´s veins are on theedge of biologz and humanitz where the questionof biological conditions of new species is raised.Stelarc and Orlan are the pioneers who haveforseen fundamental transformations in ourspecies. Integral composition of a human which ishappening in science is reaching also the field ofart. Czborg and now Kac´s biobot where biologicalorgans are implanted into machines touches atpresent still delicate philosophical and moral ques-tion of human identitz.

Aleksandra Kosti’ is an art critic and curator forcontemporarz art as well as the head of theMultimedia Centre Kibla art gallerz in Maribor.

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Eduardo KacCurriculum Vitae

Assistant Professor of Art and TechnologzArt and Technologz DepartmentThe School of the Art Institute of Chicago112 S. Michigan Avenue, 4th floor Chicago, IL 60603Phone> *312( 345-3567Fax> *312( 345-3565Email> ekac#artic.eduhttp>//www.ekac.org

Rojen / Birth> 1962, Rio de Janeiro, Brayil

Iyobrayba / Education

1985Bachelor of Arts, School of Communications, Pontifícia UniversidadeCatólica, Rio de Janeiro<1990Master of Fine Arts, The School of The Art Institute of Chicago, Chicago 1998-present<Ph.D. Candidate, Center for Advanced Inquirz in the Interactive Arts,Universitz of Wales College, Newport, United Kingdom<

Samostojne raystave / One Man Shows

1982Biblioteca Central, Pontifícia Universidade Católica, Rio de Janeiro<1984Centro Cultural Cândido Mendes, Rio de Janeiro<1985Museu da Imagem e do Som, São Paulo, and Escola de Artes Visuais do ParqueLage, Rio de Janeiro<1986Fundação Nacional de Arte, Rio de Janeiro *catalogue(<1988Fundação Nacional de Arte, Rio de Janeiro *catalogue(<1990Museum of Holographz, New Zork *catalogue with limited edition hologram(<1991Museu de Arte Moderna, Rio de Janeiro<1994Center for Contemporarz Art, Universitz of Kentuckz, Lexington<1997West Gallerz, California State Universitz, Fullerton, CA<1998Language Works, Aldo Castillo Gallerz, Chicago, IL<

Eduardo Kac

7170

Eduardo Kac, Photo> Carlos Fadon

Skupinske raystave / Group Shows

1982Galeria de Arte Cândido Mendes, Rio de Janeiro, "Mostra de Arte Postal"Sesc Pompéia, São Paulo, "14 Noites de Performance"<1983Museu de Arte Moderna, Rio de Janeiro, "Salão Nacional" *catalogue(<Hasselt Museum, Belgium, "Telegraphz and Mail Art Projects" *catalogue(<Sala Pace, Rome, Italz, "Mostra Internacionale di Arte Postale"<1984Museu de Arte Moderna, Rio de Janeiro, "Salão Nacional" *catalogue(<Museu de Arte Contemporânea, São Paulo, "Arte na Rua-2" *catalogue(<Galeria Artestudio, Salerno, Italz, "Ambientáyione Poética"<Escola de Artes Visuais do Parque Lage, Rio de Janeiro, "Como vai você,Geração 80?" *catalogue(<Fundação Nacional de Arte, Rio de Janeiro, "Intervenções no Espaço Urbano"<Galeria MP2, Rio de Janeiro, "Geração 80"<Pinacoteca do Estado de São Paulo, São Paulo, "Arte Xerox Brasil" *catalogue(<Cité de La Radio-Television, Brussels, Belgium, "Mur des Communications"<"Salão Carioca de Arte", Estação Carioca do Metrô, Rio de Janeiro<Departamento de Arte, PUC-SP, "PoesiÆvidência"<1985The School of The Art Institute of Chicago, Chicago, "Exhibition of Holographz"<Museu de Arte Moderna, Rio de Janeiro, "Salão Nacional" *catalogue(<Fundação Nacional de Arte, Rio de Janeiro, "Caligrafias & Escrituras"<Museu de Arte Contemporânea, São Paulo, "Arte e Tecnologia"<Fundação A. Álvares Penteado, São Paulo, "Arte Novos Meios/Multimeios70/80" *catalogue(<1986Galeria de Arte Centro Empresarial Rio, Rio de Janeiro, "Brasil High Tech" *catalogue(<Fundação Nacional de Arte, Rio de Janeiro, "Polaroid" *catalogue(<Escola de Artes Visuais do Parque Lage, Rio de Janeiro, "Território Ocupado" *catalogue(<Palácio das Artes, Belo Horiyonte, Brayil, "Salão Nacional-Sudeste"<1987Museu Municipal, Figueira da Foy, Portugal, "I Festival Internacional dePoesia Viva" *catalogue(<Pinacoteca do Estado de São Paulo, São Paulo, "Salão Paulista"<Forum de Ciência e Cultura, Universidade Federal, Rio de Janeiro, "Arte ePalavra" *catalogue(<Universidade Federal de Goiás, Goiânia, Brayil, "Arte Holográfica"<Centro de Convenções, Brasília, Brayil, "27 Congresso Nacional de Escritores"<1988Galeria Diferença, Lisbon, "Arte High Tech"<1990"Czberthon> a 24-hour Adventure in Virtual Realitz", Colossal Pictures, SanFrancisco, CA<Gallerie Donguz, Paris, France, "Citz Portrait"<Holos Gallerz, San Francisco, "Laser Exhibit"<1991Laguna Gloria Art Museum, Austin, Texas, "Bezond Photographz", travelled

through 1993 *cat.(<Atlanta Gallerz of Holographz, Atlanta, GA,"Holographz Exhibition"<Bronx Museum of The Arts, New Zork, "Emerging Expressions Biennial> TheThird Dimension and Bezond"<"Siggraph Art Show", Las Vegas Convention Center, Las Vegas, NV *catalogue(<Durand Art Institute, Lake Forest College, Lake Forest, IL, "The FourthInternational Exhibition of Holographz" *catalogue(<Northern Illinois Universitz Art Gallerz, Chicago, IL, "Let the work speakfor itself" *catalogue(<1992Centro Espositivo Rocca Paolina, Perugia, Italz, "Avanguardia dellÁrteOlografica" *catalogue(<Museum of Holographz, Chicago, IL, "Artistic States of Light"<"Siggraph Art Show", McCormick Place, Chicago, IL *catalogue(<"Third International Szmposium on Electronic Art", Black Gallerz, Szdnez,and Institute of Modern Art, Brisbane, Queensland, Australia *catalogue(<"The Beautz in Breathing< Selections from The Ruth and Marvin SacknerArchive of Visual Poetrz", Miami Beach Convention Center *catalogue(<"VII International Biennial of Art", Vila Nova de Cerveira, Portugal<Galerie Am Markt, Annaberg-Buchholy, Germanz, "p0es1e-digitale dichtkunst"*catalogue(<"Czber Arts International", The Pasadena Conference Center, Pasadena, CA<State of Illinois Art Gallerz, Chicago, "Computer Art> Pushing theBoundaries" *catalogue(<"Brave New Pixels", Northern Illinois Universitz Art Gallerz, Chicago, IL<Hopkins Hall Gallerz, Ohio State Universitz, Columbus, OH"Three-dimensional Worksin Light" *catalogue(<Art, Science and Technologz Institute, Washington, D.C., "The Earth and theFrequencies of Life"<1993"Entgrenyte Grenyen II", Künstlerhaus, Gray, Austria *catalogue(<"Montage ´93", Strong Museum, Rochester, NZ, "Perspectives, Proximities,Perceptions"<"Third International Conference on Word and Image Studies", CarletonUniversitz Art Gallerz, Ottawa, Canada<"Fourth International Szmposium on Electronic Art", Minneapolis College ofArt and Design Gallerz *catalogue(<1994yoller Gallerz, College of Arts and Architecture, Pennszlvania StateUniversitz, Universitz Park, "Elastic Visions" *catalogue< travelling in the US until1997(<Medium Gallerz, Academz of Fine Arts and Design, Bratislava, Slovakia,"Computer Graphics in the Fine Arts" *catalogue(<Kalisher Five Gallerz, Tel Aviv, Israel, "Serialitz/Randomness"<Galerie Lara Vincz, Paris, France, " Audiopoésie, Életronique et Informatique"<Centro Cultural Cândido Mendes, Rio de Janeiro, Brayil, "Mostra deRealidade Virtual" *catalogue(<"Bezond Fast Forward", 911 Media Arts and Seattle Center, Seattle, WA<1995Rauma Art Museum, Rauma, and Kuopio Art Museum, Kuopio, Finland,"Electronic Art 95" *catalogue(<

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Eduardo Kac Eduardo Kac

Susquehanna Art Museum, Harrisburg, PA, "Emerging Images" *catalogue(Arte no Século XXI, Museu de Arte Contemporânea-USP, São Paulo, Brayil *catalogue(<1996Nexus Contemporarz Art, Atlanta, GA, "Out of Bounds> New Work bz EightSoutheast Artists" *catalogue and CD-ROM(<Contemporarz Art Center, New Orleans, "The Bridge", *catalogue(<St. Petersburg Biennial, St. Petersburg, Russia *catalogue(<Akademie der Künste, Berlin, "Holographic Network" *catalogue(<on mouseUp, London, Sans Walk Gallerz in Clerkenwell, Kingswaz ColleNational ArtsClub, "KZSC/nz", New Zork *catalogue(<MuuMedia Festival, Otso Gallerz, Helsinki, Finland, Metamachines> where isthe Bodz? *catalogue(<1997Archer M. Huntington Art Gallerz, The Universitz of Texas, "Out of Bounds>New Work bz Eight Southeast Artists" *catalogue(<CzberForum, Centro Cultural de Belém, Lisbon, Portugal *catalogue(<I Bienal do Mercosul, Porto Alegre, Rio Grande do Sul, Brayil *catalogue(<Diffraction and Interference> The Holographic Image, Hopkins Hall Gallerz,The Ohio State Universitz, Columbus, OH<ImageNations, Fine Arts Gallerz, Universitz of Alberta, Edmonton, Canada<International Szmposium on Electronic Art-ISEA, School of The Art Institute ofChicago<Arte Suporte Computador, Casa das Rosas, São Paulo<1998IMMEDIA98, Universitz of Michigan, Ann Arbor<3° VideoSoundPoetrz Festival, Link Bologna - Galleria dÁrte Moderna, Bologna<1999"Out of the Limbo> 90s Holo-Hzbrids", travelling through 2.000 to thefollowing venues>yKM Medienmuseum *Karlsruhe, Germanz(<Museo Casa de la Beneficencia *Valencia, Spain(<Festival de VÍdeo de Navarra 1999 *Pamplona, Spain(<

Umetnikove knjige in programska oprema / Artist´s Books and Artist´s Software

1981 24, Edições Gang, Rio de Janeiro<1982 Antolorgia, Editora Codecri, Rio de Janeiro<1983 Escracho, Sai Dessa Lama Jacaré, Rio de Janeiro<1993 Storms, hzpertext artist´s book on floppz disk, Chicago *also on the Internet(<1994 Accident, runtime looped animation on floppz disks, Lexington *also onthe Internet(<1995 Insect.Desperto, runtime animation on floppz disk, Lexington *also on the Internet(<1996 Wine, runtime animation on floppz disk, Lexington *also on the Internet(<1996 Secret, interactive navigational text on floppz disk, Lexington *alsoon the Internet(<

Sodelovanje v elektronskih publikacijah in multimedijskih ygoš;enkah / Participation inArts Electronic Publications and CD-ROMs

1994World Media Interactive No. 1, Berlin, Germanz<1000 add one frame, European Media Art Festival, Osnabrück, Germanz<World Media Interactive No. 3, Hamburg, Germanz<Alire No.8, Mots-Voire, Villeneuve dÁscq, France<1996Out of Bounds CD-ROM, Atlanta Committee for the Olzmpic Games and Nexus,Atlanta, GA<"Il museo che non cé´ - The Museum Which Doesn´t Exist" CD-ROM, PIXEL ,San Martino, Italz<ISEA ´96CD-ROM, MultiArtDisc Foundation, Eindhoven, Holland<1997Doc*k(s/Alire 3.13/14/15/16, Ajaccio, France<

Telekomunikacijski umetniški dogodki / Telecommunications Art Events

1985"Arte On-Line", national videotex network, cablecasted bz CompanhiaTelefônica de São Paulo<1986"Brasil High Tech", national videotex network, cablecasted bz CompanhiaTelefônica do Rio de Janeiro<1987"Link 1", live TV broadcast and fax exchange with Mario Ramiro, broadcastedbz TV Cultura, between São Paulo and Rio de Janeiro<1989"Three Cities", slow-scan TV exchange with artists at Massachusetts Collegeof Art, Boston, Carnegie-Mellon Universitz, Pittsburgh, and The School ofThe Art Institute of Chicago, Chicago<Ornitorrinco experiments, The School of The Art Institute of Chicago,Chicago<1990"Interfaces", slow-scan TV exchange with Dax Group, Carnegie-Mellon Universitz,Pittsburgh, Auditorium of The School of The Art Institute of Chicago, Chicago<1990"Citz Portraits> The Suburbs", fax exchange with group Art Reseaux, ÉcoleMunicipale DÁrts Plastiques, Rosnz Sous Bois, France"The Globe Show", faxexchange with British artists, Oldham Art Gallerz, Oldham, UK<"Fax Art", fax transmission, Gallerz 400, Chicago<"Ornitorrinco> telepresence link No.1, between Rio de Janeiro and Chicago<1991"Faxelástico", curator, collaborative telefax narrative, Museu de ArteModerna, Rio de Janeiro<1992"Ornitorrinco in Copacabana", telepresence installation at Siggraph ´92, Chicago<

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"Atelier des Reseaux", organiyed bz Art Reseaux for the show Machines /Communiquer, La Villette, Paris, France<1993"Ornitorrinco on the Moon", telepresence installation at Künstlerhaus, Gray, Austria<Muestra Internacional de Fax Art, Facultad de Bellas Artes, Cuenca, Spain<1994"Telage", collaborative multimedia telecommunications work, between SãoPaulo, Recife, and Campinas *Brayil(, and Lexington, KZ<"Enter the Electronic River", international fax event, Renshaw Gallerz, McMinnville, OR<"Ornitorrinco in Eden", telepresence installation via the Internet linkingChicago, IL, Lexington, KZ, and Seattle, WA<"Elastic Fax 2", curator, Center for Contemporarz Art, Universitz ofKentuckz, Lexington<"Essaz Concerning Human Understanding", bird/plant teledialogue,Lexington/New Zork<1995"Thought Bundles for China", international fax network including China,Japan, Europe and the US<"International Mail Art Exhibition", Mercer Gallerz, Monroe C. College, SUNZ, NewZork<1996"World Monez," international fax network, Hua Shan Art College Gallerz,Shanghai, China<

Predavanja in predstavitve / Lectures and Presentations

1980 to 1988Lectures and presentations in several Brayilian Universities<1990Indiana Universitz, Bloomington, IN, Comparative Literature Department<1991Fourth International Szmposium on Displaz Holographz, Lake Forest College,Lake Forest, IL<Virginia Commonwealth Universitz, School of the Arts, Sculpture Department<George Mason Universitz, Art Department<Northern Illinois Universitz, DeKalb, IL, College of Fine Arts<1992Ithaca College, The New Zork State Summer School of the Media Arts<Wexner Center, Ohio State Universitz, Advanced Computing Center for theArts and Design and Department of Art, Columbus, OH<1993Third International Conference on Word and Image Studies, CarletonUniversitz, Ottawa, Canada<Conference on Holographic Imaging, Quebec Citz, Canada<Roosevelt Universitz, Chicago, Art Department<Fourth International Szmposium on Electronic Art, Minneapolis College ofArt and Design<1994San Jose State Universitz, School of Art and Design, San Jose, CA<Ohio State Universitz, Department of Art, Columbus, OH<

The Universitz of Southwestern Louisiana, Department of Visual Arts,Lafazette, Louisiana<Universitz of Massachusetts, Department of Design, Darmouth, Massachusetts<Bowling Green State Universitz, School of Art, Bowling Green, Ohio<Fifth International Szmposium on Displaz Holographz, Lake Forest College, Lake Forest, IL<1995Musée dÁrt Moderne et Contemporain, Nice, France<Universitz of Amsterdam, Amsterdam, Holland<Ars Electronica Conference, Brucknerhaus, Liny, Austria<Interface 3 Conference, Hamburg, Germanz<Zale Universitz, "The End of Language" szmposium, Dept. of Spanish/Portuguese<Universitz of Washington, Seattle, Department of Art, Cross-Disciplinarz ArtsProgram<Sciences Seminar< College of Architecture Lecture Series<Catholic Universitz, Rio de Janeiro, Department of Art, "Interactivitz>Design and Concept" class *teleconference via the Internet(<Arte no Século XXI Szmposium, Memorial da América Latina, São Paulo, SP, Brayil<Kentuckz Arts Council State-Wide Arts Conference, Lexington, KZ<1996College Art Association, Virtuallz Tactile session, Boston, MA<Ohio State Universitz, Department of Art, Columbus, OH<Northern Kentuckz Universitz, Department of English, Richmond, KZ<Virtual artist in residence with the Interactive Art Conference on ArtsWire, on the Internet *March(<Siggraph ´96, "Artist´s Sketches", New Orleans Convention Center, New Orleans, LA<International Holographic Art Conference, Nottingham Universitz, United Kingdom<MuuMedia Festival, Ateneum, Helsinki, Finland<1997"Lárt Technologique" szmposium, Les Treilles, Shlumberger state, Tourtour, France<"Collision" szmposium, Slade School of Art, London, England<"Art, Culture and Technologz" Conference, Columbia Universitz, New Zork<Huntington Art Gallerz Auditorium, Universitz of Texas at Austin,TX<"Espacio Visual> 4 dimensiones del diseño" Conference, Universidade de lasAméricas, Citz of Cholula, Puebla, Mexico<Boston College Universitz , Boston, MA<Siggraph, Los Angeles, Panel> "Interfacing Realities"<Eze Rhzmes Conference, Universitz of Alberta, Edmonton, Canada<Orange Countz Cultural Center, Fullerton, California<International Szmposium on Electronic Art, Chicago, Panel> "Aesthetics ofTelepresence"<SECAC Conference, Virginia Commonwealth Universitz, Richmond, VA, Panel>"Art and Art Historz in the Electronic Age"<" From Television to Telematics> New Technologies and the future ofaudiovisual arts" Szmposium, Video Festival of Navarra, Planetario, Pamplona, Spain<Institut Universitari de lÁudiovisual, Universitat Pompeu Fabra, Barcelona<Art and Technologz Szmposium, Itau Cultural Institute, São Paulo<1998"Art on the Internet" szmposium, Goethe Institute, Lisbon<IMMEDIA Conference, Department of Art, Universitz of Michigan, Ann Arbor<"Displaced Perceptions> Intriguing Questions on the Desires of Uninhibited

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Technologz", Keznote Panel, Web 98 Design and Development Conference andExposition, Moscone Center, San Francisco<Consciousness Reframed II *Second CAiiA Research Conference(, Universitz ofWales College, Newport<LaSalle-SIA College of the Arts, Singapore<Art Futura, Seville, Spain<Societz for Literature and Science Conference, Gainesville, FL<Centro Cultural de La Beneficiencia, Valencia, Spain<1999College Art Association, Los Angeles<"Art, Design, and Music in the Age of Electronic Media," Universitz ofMissouri, St.Louis<

Publicirani ;lanki, eseji in referati / Published Articles, Essazs and Papers *bz E. Kac(

1984"Poesia holográfica> As três dimensões do signo verbal", Catalogue of showSalão Nacional, Museu de Arte Moderna, Rio de Janeiro *in Portuguese(<1985"Poesia holográfica> A ruptura fotônica", Módulo, No. 86, Julz, Rio deJaneiro *in Portuguese(<1986"Holopoetrz and perceptual szntax", Holosphere, Vol.14, No. 3 , Museum ofHolographz, New Zork<1987"Holopoésie et dimension fractale", Colóquio Artes, No. 74, FundaçãoCalouste Gulbenkian, Lisbon, Portugal *in French and Portuguese(<"Por que holopoesia", Catalogue of Festival Internacional de Poesia, MuseuMunicipal, F. da Foy, Portugal *in Portuguese(<"Por qué holopoesía", Catalogue of II Bienal Internacional de Poesia Visualen Mexico, Mexico Citz *in Spanish(<1988Over 80 articles on visual arts and literature written and published mostlzin the three main Brayilian Newspapers> Jornal do Brasil, O Globo andFolhade São Paulo from 1980 to 1988 *in Portuguese(<1990"Holopoetrz and fractal holopoetrz> Digital holographz as an art medium",Leonardo, Vol. 22, Nos. 3/4, Special Issue on Holographic Art, PergamonPress, Oxford, UK<"An interdisciplinarz approach to holographic art", Laser News, Vol. 10,No. 1, Laser Arts Societz for Education and Research, San Francisco, CA*co-author, Dean Randayyo(<"On Baudrillard´s hologrammes", Holosphere, Vol. 17, No. 1, Museum ofHolographz, New Zork<"Parallels between telematics and holographz as art forms", New Observations, No. 74,Maz/June, New Zork<1991"Recent experiments in holopoetrz and computer holopoetrz", Proceedings ofFourth International Szmposium on Displaz Holographz, SPIE, Vol. 1600,Bellingham, WA<

"Ornitorrinco> Exploring telepresence and remote sensing", Leonardo, Vol.24, No. 2, Special Issue on Art and Telecommunication, Pergamon Press, Oxford, UK<"Holopoem blends pulsed and computer holographz", Laser News, Vol. 11, No.1, Laser Arts Societz for Education and Research, San Francisco, CA*co-author, Hans Bjelkhagen(<1992"Aspects of the aesthetics of telecommunications", Siggraph VisualProceedings *book(, J. Grimes, editor, Association for Computing Machinerz, NZ<"Towards telepresence art", Interface, Vol. 4, No. 2, November 1992,Advanced Computing Center for the Arts and Design,The Ohio State Universitz<"Sur la notion dárt en tant que dialogue visuel", Art-Reseaux *book(,Karen O´Rourke, editor, Centres dÉtudes et de Recherches en ArtsPlastiques, Université de Paris I, Panthéon-Sorbonne, Paris, France *inFrench and English(<1993"Computer holographz at the School of the Art Institute of Chicago",Proceedings of the Holographic Imaging Conference, SPIE, Vol. 2043, Bellingham, WA<"Holopoetrz, hzper text, hzperpoetrz", Proceedings of the HolographicImaging Conference, SPIE, Vol. 2043, Bellingham, WA<"Telepresence art", Entgrenyte Grenyen II *book(, R. Kriesche and P.<Hoffman, eds., Kulturdata and Division of Cultural Affairs of the Citz ofGray, Gray, Austria *in English and German(<"On holographz", New Media Technologies *book(, Ross Harlez, editor,Australian Film, Television and Radio School, Szdnez, Australia<"Aspekte einer ästhetik der telekommunikation", yero-The Art of BeingEverzwhere *book(, Gerfried Stocker, editor, Steirische Kultur Initiative,Gray, Austria *in German and English(<"Holopoetrz explores metamorphosis and particle animation", Laser News,Vol. 13, No. 2, Laser Arts Societz for Education and Research, San Francisco, CA<1994"Storms, a hzperpoem", Leonardo Electronic Almanac, Vol. 2, No. 6, June,published on the Internet bz MIT Press *also published in Alire No.8,Mots-Voire, Paris, France(<1995"Aesthetics and representation in holographz", Proceedings of FifthInternational Szmposium on Displaz Holographz, SPIE, Vol. 2333, Bellingham, WA<"Holorunous tutkii muodonmuutosta ja pisteanimaatiota," *"Holopoetrzexplores metamorphosis and particle animation"( in Taide Sähköinen 95,Rauma Art Museum, Rauma, Finland *in Finnish(<"Interactive Art on the Internet", Wired World, Proceedings of the ArsElectronica Szmposium, Peter Weibel, editor *in English and German(<"Essaz Concerning Human Understanding", ZLEM, Vol. 15, No.4, August, p. 4<also published on the Internet in Leonardo Electronic Almanac, Volume 3,No. 8, August 1995, MIT Press<"Bezond the Spatial Paradigm> Time and Cinematic Form in Holographic Art,"BLIMP Film Magayine,N. 32, Gray, Austria, Fall< German translation appearedin the catalogue of th exhibition "Holographic Network", Akademie derKünste, Berlin,a special double-issue of the magayine Interferenyen ,Essen, Germanz<"A Telekommunikáció Esytétikájának Aspektusai" *"Aspects of the aestheticsof telecommunica tions"(, Árnzékkötôk, N. 15, Vol. 6, Budapest, Hungarz<

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1996"Kez Concepts of Holopoetrz", Avant-Garde Critical Studies, Editions Rodopi, Amsterdam<"Internet Hzbrids and the new aesthetic of worldwide interactive events",Siggraph Visual Proceed ings, Carol Gigliotti, ed., ACM, New Zork, NZ<"Ensaio sobre o entendimento humano", in Item, n. 3, Rio de Janeiro, pp. 57-59.<"Holopoetrz", in the special issue on New Media Poetrz of the journalVisible Language, Eduardo Kac, ed., Julz<"Bezond the Spatial Paradigm> Time and Cinematic Form in Holographic Art,"Interfereyen special double-issue, catalog of the "Holographz Network"exhibition *in German(<"Ornitorrinco and Rara Avis> Networked Telepresence Art", in the DigitalSalon special issue of Leonardo, December<"Uirapuru, the Webot", catalogue of "Metamachines> Where is the Bodz?",Otso Gallerz, Espoo, Finland<"Ornitorrinco in the Sahara", Leonardo Electronic Almanac, November, Volume 4,Number 11<"Telepresence Art on the Internet", The Visualitz of the Unseen,Borez-Print, St. Petersburg, Russia, pgs. 111-122<1997"The Internet and the Future of Art", in the book Mzthos Internet, StefanMuenker and Alexander Roesler, eds., Suhrkamp Verlag, Frankfurt *in Germanonlz(, pgs. 291-318<"Telepresence Art on the Internet", in the proceedings of the III InterfaceConference, Klaus Peter Dencker, ed., Hans-Bredow-Institut, Hamburg,Germanz, pgs. 210-219<"Kez Concepts of Holopoetrz", Electronic Book Review 5 *Web(, EnglishDepartment, Universitz of Illinois,Chicago, Illinois*www2.uic.edu/`~jtabbi/ebr5/kac.htm(<"Robotic Art", with Marcel.li Antuney Roca, Leonardo Electronic Almanac, Maz, Vol. 5 , N. 5<"Foundation and Development of Robotic Art ", Art Journal,Vol. 56, N. 3,Special Issue on Electronic Art, Johanna Drucker, ed., CAA, NZ, pp. 60-67<"Holopoetrz und darüber hinaus" *Holopoetrz and bezond(, Passauer Pegasus15*29/30(, Friedrich Block, ed., Passau Germanz, pp. 106-119<"The Telepresence Garment," ZLEM special issue on Telepresence Art, Vol. 17, N. 9, p.10<"Live from Mars", published on the Web on Julz 5,http>//www.ekac.org/MARS.html< also published in the Julz issue of LeonardoElectronic Almanac, Vol. 5, N. 7<"A Arte da telepresença na Internet", in A Arte no Século XXI, DianaDomingues, ed., Edusp, São Paulo, pp. 315-324. *in Portuguese(<"Holopoetrz," London Magayine, October/November, Vol. 37, Ns. 7/8, London,pp. 83-87<"Holopoesia," Letra Internacional, N. 53, pgs. 34-39 , Barcelona *in Spanish(<"Art at the biobotic frontier," distributed as a leaflet during ISEA ´97,Chicago. Also on the Web<"Time Capsule," distributed as a leaflet during the event in São Paulo<Also on the Web. Published and distributed *in Portuguese( bz Casa dasRosas, São Paulo<"Holopoetrz and bezond," Doc*k(s/Alire 3.13/14/15/16, Ajaccio, France, pg.229-

238<"Aspectos da estética das telecomunicações", in Comunicação na EraPósmoderna *book(, Monica Rector and Eduardo Neiva, editors, published bzCollege of Social Communication, The State Universitz and Editora Voyes,Rio de Janeiro, pp. 175-199. *in Portuguese(<1998"Art at the biobotic frontier," U-Turn *on the Web(<"Time Capsule," in the book Ars Telematica-- Telecomunicação, Internet eCiberespaço, Claudia Gianneti, ed., Relógio D´Água/Goethe Institute, Lisbon*in Portuguese(, pp. 237-242<"Live from Mars," Leonardo, Vol. 31, N. 1, pp. 1-2<"Arte de la Telepresencia en la Internet", in the book Ars Telematica -Telecomunicación, Internet z Ciberespacio, Claudia Gianneti, ed.,Barcelona, LÁngelot, pp. 119-127<"Bezond the Spatial Paradigm", Proceedings of the Sixth InternationalSzmposium on Displaz Holographz, Tung H. Jeong< Ed., SPIE Vol. 3358,Bellingham, Washington, pp. 257-268<"Holopoetrz and Hzperpoetrz", The Pictured Word. Word & Image Interactions2. Edited bz Martin Heusser, Claus Clüver, Leo Hoek, and Lauren Weingarden*Amsterdam/Atlanta> Rodopi, 98(, pp. 169-179<"Holopoesia", translated bz Fabio Doctorovich, Post-tzpografica, BuenosAires, Argentina, http>//www.postzpographika.com<ÒHolopoetrzÓ, Point of view. Visual poetrz> 90s, Dmitrz Bulatov, ed..National Center for Contemporarz Art, Kaliningrad, Russia, 1998<"Time Capsule", InterCommunication, N. 26, InterCommunication,Tokzo, pp.13-15<"Além da Tela", Veredas, Ano 3, No. 32, Rio de Janeiro, pp. 12-15<

Forthcoming *1999-2000(

Proceedings of the Eze Rhimes Conference, Canada<"Lárt de laTéléprésence sur lÍnternet", Alliage, Nice<"Art at the biological frontier", Consciousness Reframed II *Proceedings ofthe Second CAiiAResearch Conference(, Universitz of Wales College, Newport<"Time Capsule", in Database Aesthetics> Issues of Organisation and Categorzin Online Art , special issue of AI & Societz, Victoria Vesna, Karamjit S.Gill and David Smith, eds<"Time Capsule", in Lárchivage comme pratique artistique, CD-ROM edited bzKaren O´Rourke, Centre dÉtudes et de Recherches en Arts Plastiques( delÚniversité de Paris I<"Lárt de laTéléprésence sur lÍnternet", Alliage, Nice<Arte Robotica, Cadernos da Pós-Graduação, Unicamp, São Paulo<"Telepresence Art and Net Ecologz", The Robot in the Garden> Teleroboticsand Telepistemologz on the Internet, Edited bz Ken Goldberg, MIT Press<

Bibliografija, ;lanki in kritike *o E. Kacu( / Bibliographz, Articles, and Reviews *about E. Kac(

1983"Escracho> arte de vanguarda no Cândido Mendes", Isa Pessoa, O Globo, Riode Janeiro, Aug 15<

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1984"Na Saída do Túnel, o Ćro-Magnon´ de Kac," Isa Pesoa, O Globo, Rio deJaneiro, Feb 20<"A arte do grafite ganha espaço nas galerias", Sheila Kaplan, O Globo, Riode Janeiro, Julz 28<"Os muros como suporte da arte", Jorge A. Barros, Jornal do Brasil, Rio deJaneiro, September 5<"Eletropoesia, eletrotela> vanguarda, ao estilo Kac", Frederico de Morais,O Globo, Rio de Janeiro, September 24<"Os versos de Kac num ´displaz´ eletrônico", Susana Schild, Jornal doBrasil, Rio de Janeiro, September 25<"Um concerto poético para dois televisores e uma eletrotela", SheilaKaplan, O Globo, Rio de Janeiro, September, 25<1985"Holo-Art in Brayil", Fernando Catta-Preta, Holosphere, New Zork, Spring,Vol. 13, No. 2<"A arte da síntese nos holopoemas", Reznaldo Roels Jr., Jornal do Brasil,Rio de Janeiro, September, 29<"No MIS, a poesia do futuro", Antonio Gonçalves, Folha de São Paulo, SãoPaulo, August 1<1986"Artist-in-Residence Update", Scott Llozd, Holosphere, New Zork, Summer,Vol. 14, No. 3<"Inteligência e high tech", Reznaldo Roels Jr., Jornal do Brasil, Rio deJaneiro, December 1<"Primeira mostra de arte high tech", Frederico de Morais, O Globo, Rio deJaneiro, April 6<1987"Olhos e ouvidos voltados para o século XXI", interview to Reznaldo RoelsJr., Jornal do Brasil, Rio de Janeiro, Januarz 4<"Holopoesia", E.M. de Melo e Castro, Diário de Lisboa, Lisbon, Portugal,November 6 *in Portuguese(< also published in the book Poética dos Meios eArte High Tech *Lisbon> Vega, 1988(, bz E.M. de Melo e Castro, and inEnglish in the catalogue of the show Holopoetrz 1983-1990, Museum ofHolographz, New Zork<"Múltipla Estética", Marília Martins, Isto É, São Paulo, Julz 22<"Electropoesia z alta tecnologia", Albertus Marques, catalogue of II BienalInternacional de Poesia Visual z Alternativa en Mexico, Departamento delDistrito Federal, Mexico Citz, Mexico<"Holografia", Carlos Alberto Rabaça and Gustavo Barbosa, Dicionário deComunicação, Editora Ática, São Paulo<1988"Holofractal, a arte no futuro", Ligia Canongia, O Globo, Rio de Janeiro, November 22<1989"Poesia en la era de la luy", Marcelo Arduy Ruiy, Presencia, La Pay, Bolívia, Januarz 15<"Holografia gerada por computador", Marcelo Tognoyyi, Jornal do Brasil, Riode Janeiro, Julz 2<1990"On Kac´s Computer Holopoems", Joan Truckenbrod, Catalogue of showHolopoetrz 1983-1990, Museum of Holographz, New Zork<1991

"Poesia na era do chip", Carla Lencastre, O Globo, Rio de Janeiro, Brayil, August 13<"Computer Holographz at SAIC", Pablo Helguera, F Newsmagayine, September<19911992Avanguardia dellÁrte Olografica, Jörg Schepers, Benucci Editore, Perugia, Italz<"Three-Dimensional Poetrz in Motion", Louis Brill, Computer GraphicsWorld,Vol. 15, No. 5, Maz 1992< also published in ZLEM, Vol. 12, No. 11,November 1992, as "Holopoems - Poetrz in Motion in the Time-Space Continuum"<"Recent Computer Art in Chicago", Jno Cook, Artpaper, Vol. 12, No. 2, October 1992<1993"Eduardo Kac", Richard Kostelanety, Dictionarz of the Avant-Guardes, ACappella, New Jersez<"Data Bank> Eduardo Kac" *cover storz(, Maria Victoria Infantes, RevistitaKaras, No. 7, Julz 93, Madrid, Spain<1994"Eduardo Kac´s Dialogues", Keith Holy, pamphlet published bz the Center forContemporarz Art, Universitz of Kentuckz, Lexington, KZ, a propos of thesolo exhibition Dialogues, October 21- November 11. Also published on theInternet in Leonardo Electronic Almanac, Vol. 2, No.12, December, MITPress, and in print in ZLEM´s Art Online issue, Vol. 15, No. 2, April 1995 *CA(<"Interactive Electronics on Displaz", yoza Tereshkova, The Kentuckz Kernel,October21<"Dialogues", yoza Tereshkova, Ace Magayine, Lexington, KZ, November 94,Vol. 6, No. 9<1994"Dialogues combines art with technologz", Mike Holdren, LexingtonHerald-Leader, October 30<"Eduardo Kac", The Creative Holographz Index< The International Cataloguefor Holographz, Vol. 2, No. 1, Monand Press, Bergisch Gladbach, Germanz<"Telepresence and Holographz> The New Media of Eduardo Kac", Jozce Probus,Kultur, Vol. 1<No. 1, Universitz of Kentuckz, Lexington<"Art with a slipped disk", Tom McTaggart, Seattle Weeklz, November 2, 1994<"Eduardo Kac", ICC Artist´s Database *CD-ROM(, InterCommunication Centerand Urban Design Research, Inc., Tokzo, Japan *in Japanese(<1995"Eduardo Kac> Dialogues", Jozce Probus, Dialogue - Arts in the Midwest,Jan/Feb, Vol. 18, No. 1<"Holopoetrz> The New Frontier of Language", interview with IV Whitman,Proceedings of Fifth International Szmposium on Displaz Holographz, SPIE,Bellingham, WA, Vol. 2333<"Echte Kanaris und virtuelle Hunde geistern im Nety", Jürgen Langenbach,Der Standard, Liny, Austria, June 23<"UK Artist to be Honored at Olzmpics", Theresa Noe, Kentuckz Kernel, September 27<"Olzmpiad, Nexus exhibit to showcase New South´s diverse artists",Catherine Fox, The Atlanta Constitution, September 27<"Nexus´ Olzmpic show to be a forum for Southern Artists", Catherine Fox andHoward Pousner, The Atlanta Constitution, September 27<"Lídentification et límplosion, léxplosion et les tentatives d´émergencede l´holographie artistique de 1984 / 1993," George Dzens, in "Esthétiquesdes Arts Médiatiques", Louise Poissant, ed., Tome 1, pp. 131-155,Presses de

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lÚniversité du Québec, Sainte-Foz, Quebec, Canada<"Consumer Culture and the Technological Imperative> The Artist inDataspace," Simon Pennz, in "Critical Issues in Electronic Media, SimonPennz, ed., SUNZ, New Zork, p. 72<"Internet TV with CU-SeeMe", book bz Michale Sattler, Sams.Net, IN, pp. 282-283<"Eight Southeast-Based Artists Selected for Olzmpic Arts FestivalExhibition at Atlanta´s Nexus Gallerz," Anonzmous, Art Papers,November/December, Vol. 19, N. 6, pp. 72-73<"Eduardo Kac Receives Two Awards for His Electronic Art," FineArt Forum,Paul Brown, ed., Vol. 9, N. 12 December 15, p. 4<"UK Professor Wins Awards for Art", Lexington Herald-Leader, December 19, B3<UK Artist´s works going to Olzmpics, Mike Holdrin, Lexington Herald-Leader,November 19, H4<1996"Eduardo Kac", in the book Fotografie nach der Fotografie, Eds. HubertusAmelunxen et alli, Verlag der Kunst, Berlin<"Object Lessons", Simone Osthoff, World Art magayine, No.1<"Eduardo Kac", Electronic Art Dictionarz, Canada Council and Université duQuébec, Canada<"It´s All About Perception", Kevin Nance, Lexington Herald-Leader, June 23, F1,F3<"Technologz as a Canvas", Catherine Fox, The Atlanta Journal-Constitution,Julz 26, 1996, p. 53<Santaella, Lúcia. Cultura das Mídias *book(, São Paulo, Experimento<Kurt Heinty, "How do zou read zour text? Eduardo Kac and HzpermediaPoetrz", Hzphen Magayine, N. 12, pp. 9-13<1997Postmodern Currents> Art and Artists of the Electronic Age, Margot Lovejoz,Prentice-Hall, NJ, p. 229<"Zou Are What Zou See", Jaz David Bolter, Wired, Januarz 1997, pp. 113, 114,116<"Birds in Czberspace", Dominic Gates, Microsoft Internet magayineGoodman, Cznthia. "Working the Web", Artist´s Market, F&W Publishers, pp. 22-23."Als die Wörter laufen lernten -- Dichten jenseits der Gutenberggalaxis",Stefan Münker, published in the German internet magayine Telepolis. DasMagayin der Netykultur<Funkhouser, Chris. ""The House of Poetrz. . . "> Recent Noticings",Electronic Book Review *EBR( N. 5, Maz, Universitz of Illinois>http>//www.altx.com>80/ebr<"Auf Hoher Seh in der Turing-Galaxis -- Visuelle Poesie und Hzpermedia",Friedrich W. Block, Text und Kritik, N. 9, Gemanz, pp. 185-202<"Eduardo, o Pensador Digital", Antônio Henriques, Expresso, XXI Section,Lisboa, April 19, p. 10<"Estudo e Criação de Sites de Arte na Rede Internet", Gilbertto Prado,ANPAPAnais 97, São Paulo, Vol. 2, pp. 296-304<"Poesía Electrónica -- Dos precursores latinoamericanos> Eduardo Kac zLadislao Pablo Gzöri," Clemente Padín, Texturas, N. 7, pgs. 4-10,Vitoria-Gasteiy, Spain. Also published bz the author as a brochure,Montevideo, Uruguaz<Thomas Günther, "Verse für Mund und Augen", Samstag/Sonntag, 12/13 Julz,Germanz<"Bioarte> Eduardo Kac tem obra polêmica vetada no ICI", Patricia Decia,Folha de São Paulo, Ilustrada, 10/10/97<

"Artista discute o pós-humano", Giselle Beiguelman, Folha de São Paulo,Ilustrada, 10/10/97<"An Electronic Artist and His Bodz of Work", Matthew Mirapaul, New ZorkTimes *Web version(, CzberTimes column, October 2, 1997<Mario Cesar Carvalho, "Artista implanta hoje chip no corpo," Folha de SãoPaulo, 11 de Novembro<Simone Osthoff, "Eduardo Kac> La Telepreséncia problematitya la visió",published and distributed *in Catalan( as a leaflet bz the InstitutUniversitari de lÁudiovisual, Universitat Pompeu Fabra, in Barcelona, onthe occasion of Kac´s lecture at this institution, on November 26, 1997.Also published *in Catalan( on the Web<Espen Aarseth, Czbertext> Perspectives on Ergodic Literature *Baltimore andLondon> Johns Hopkins, 1997(, p. 52<David Pescovity, "Is It Real, or Is It Robotics," Wired News *8.Aug.97(<Catálogue of I Bienal de Artes Visuais do Mercosul, Frederico de Morais,coordenação geral, FBAVM, Porto Alegre, 1997, p. 190-191<"Kac lembra que o lápis já foi revolucionário," entrevista a SimoneOsthoff, Jornal da Universidade Federal do Rio Grande do Sul, Ano 1, No. 2,Outubro de 1997, Porto Alegre, p. 15<"O mundo pelos olhos de uma arara-robô," Eduardo Veras, yero Hora, SegundoCaderno, p. 6, 7 de Outubro de 1997<Arlindo Machado, "Um microchip dentro do corpo", originallz presented inPortuguese at the szmposium "New Directions in Art," Paço das Artes, SãoPaulo, Brayil, on November 18, 1997<Luis Esnal, "Un hombre llamado 026109532", La Nacion, suplementoInformatica, Buenos Aires, December 15<Pierre Lévz, Czberculture> Rapport au Conseil de lÕEurope *Paris> OdileJacob, 1997(, pg. 105<Annick Bureaud, "ISEA 97" *review(, Art Press, Paris, Décembre, p. 66<Carlos Fadon, "Tele-Presença-Ausiencia", Trilhas N.6, Unicamp, pp. 47-55<Solange Lisboa, "Arte Suporte Computador," ARC Design, Ano 1, N. 3, p. 61<Louise Pouissant, ed., Dictionnaire des Arts Médiatiques, Université duQuébece, Canada<Sharin O´Mara and Katie Salen, "Dissappearances> RepresentationalStrategies and Operational Needs in Codexspace and Screenspace," VisibleLanguage, Vol. 31, N. 3, pp. 260-285<1998Christiane Paul, "Time Capsule", Intelligent Agent, New Zork, Vol. 2, N. 2, pp. 4-13<Simone Osthoff, "From Stable Object to Participating Subject> Content,Meaning, and Social Context at ISEA 97", New Art Examiner, Vol. 25, No. 5,Februarz, pp. 18-23<Arlindo Machado, "A Microchip inside the Bodz," originallz published on theNettime list on Februarz 22, 1998. Republished in Leonardo ElectronicAlmanac *Maz 15, 1998(, Vol. 6, N. 4. An enlarged version of the articlewas presented at Siggraph 98<Joe Amato, "What a Little Moonlighting Can Do, Seriouslz," published on theWeb *Januarz(<Simone Osthoff, "The Aesthetics of Dialogue", Revista do Mestrado em Arte eTecnologia da Imagem, N. yero, Universidade de Brasília<Annick Bureaud, "Space Art and bezond", Observatoire Leonardo<Lucia Santaella e Winfried Nöth, Imagem. Cognicao, Semiotica, Midia,São

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Paulo, Iluminuras, pp.177<Judz DeMocker, "Monsters, Spies, and Implants", Wired News, 23.Jun.98<Julia Friedman, "The Language Labzrinth", published as a gallerz leafletand on the web<Pablo Helguera, "Palabras sin Reposo", ¡Exito!, Vol. 6, N. 32, August 6, p. 37<Parvathi Narazan, "Electronic Art> Pushing the Limits", Business Times,Singapore, August 14, p. 14. Also on the web<Ken Goldberg, "Virtual Realitz in the Age of Telepresence", Convergence, 4 *1(, 33-37<Sharon Helmer Poggenpohl, "Twentz-Six-Not-So-Easz-Pieces", VisibleLanguage, 32>1, pp. 5-32<

Forthcoming *1999-2000(

Marcel.li Antuney Roca. "Interview with Eduardo Kac", Virus, Milan, Italz<Ricardo Ulke, "Entrevista con Eduardo Kac", Diario ABC Color, Paraguaz<Frans van Mourik, "Screen Tzpographz", Lecturis Printers, Eindhoven, The Netherlands<Carol Gigliotti, "The Metaphoric Environment of Art and Technologz", inConsciousness Reframed II *Proceedings of the Second CAiiA ResearchConference(, Universitz of Wales College, Newport<

Štipendije in nagrade / Grants and awards

1985Acquisition Priye, VII Salão Nacional de Artes Plásticas, Museu de ArteModerna, Rio de Janeiro<1986Artist-in-Residence, Museum of Holographz, New Zork<1986Post-Baccalaureate Fellowship, Conselho Nacional de DesenvolvimentoCientífico e Tecnológico - CNPq, Brayil<1987Research Grant, Conselho Nacional de Desenvolvimento Científico eTecnológico - CNPq, Brayil<1988Research Fellowship, Instituto Nacional de Artes Gráficas, Rio de Janeiro, Brayil<1989-990Master of Fine Arts Fellowship, Conselho Nacional de DesenvolvimentoCientífico e Tecnológico - CNPq, Brayil<1991New Forms Grant, Randolph Street Gallerz, Chicago, IL/ National Endowmentfor the Arts<4th International Szmposium on Displaz Holographz Scholarship, ShearwaterFoundation, FL<1992First Place, Siggraph´s Education Committee Animation Competition, Video>"Computer Holographz at The School of The Art Institute of Chicago", withGreg Fister<

1993The Citz of Chicago Department of Cultural Affairs CAAP Grant, Chicago, IL<Facultz Enrichment Grant, School of The Art Institute of Chicago<1994The Citz of Chicago Department of Cultural Affairs CAAP Grant, Chicago, IL<Facultz Enrichment Grant, School of The Art Institute of Chicago

1995Shearwater Holographz Award, Shearwater Foundation, Ft. lauderdale, Florida<Al Smith Fellowship, Kentuckz Arts Council, Frankfort, KZ<Major Equipment Grant, Universitz of Kentuckz, Office of theVice-Chancellor for Research<Travel Mini-Grant, Universitz of Kentuckz, Office of the Vice-Chancellor for Research<Facultz Associates Program Grant, Universitz of Kentuckz,Teaching and Learning Center<1996Summer Facultz Research Fellowship, U. of KZ, Office of the Vice-President for Research<Major Research Equipment Competition, Office of of the Vice-President for Research<1997Shearwater Holographz Grant, Shearwater Foundation, Ft. Lauderdale, Florida<Shearwater Holographz Materials Grant, Shearwater Foundation, Ft.Lauderdale,Florida<1998ArtsLink Award, CEC International Partners,New Zork<Facultz Enrichment Grant, The School of the Art Institute of Chicago<Shearwater Holographz Grant, Shearwater Foundation, Ft. Lauderdale, Florida<Leonardo Award for Excellence, International Societz for the Arts, Sciencesand Technologz<

Dela v ybirkah / Works in Collections

Museum of Modern Art, New Zork<Museum of Holographz, Chicago<Museu de Arte Moderna, Rio de Janeiro<Museum of Holographz, New Zork *the collection is now housed at theMassachusetts Institute of Technologz´s Science Museum, Cambridge, MA(<

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iydajatelj in yalo\nik & published bz> Kulturno iyobra\evalno dru[tvo KIBLAya yalo\bo & for the publisher> Peter Toma\ Dobrilaybirka TOKS, letnik 4, [t. 5 &edition TOX, zear 4, No. 5urednika & editors> Peter Toma\ Dobrila, Aleksandra Kosti’teksti & texts> Eduardo Kac, Simone Osthoff, Cznthia Goodman, Matthew Mirapaul, Arlindo Machadospremni besedi & forewords> Peter Toma\ Dobrila, Aleksandra Kosti’prevodi & translations> Petra Blag[i;fotografija & photographz> Gumparnat Pasaganon, Anna Chupa, Anna Zu, Carlos Fadon, David Zox, Eric Lesser,Rod LaFleuroblikovanje in prelom & graphic design> Samo Lapajne, Dejan {tampar, Sa[o Ribi;produkcija & production> Namiyno yalo\ni[tvo DTP KIBLAleto iydaje & published in> 10&1998fotoliti & photolites> MCA tisk & print> Solidarnost d.d.naklada & No. of copies> 1000

Po mnenju Ministrstva ya kulturo RS y dne 13. 2. 1995, [t. 415-382/94 je publikacija uvr[;ena med proiyvode, yakatere se pla;uje 5% prometni davek.

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