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that on/off line zone that the ACTLab formed. In their own words, “We just call it ACTLab stuff, because it’s unique. One technical term for it might be intermodal expressive art/tech with a theoretical component. Or you might think of it as New Media Art. But those are just names, and not even very good ones” (ACTLab). Intermodality became a term that tied the theoretical “lab placed” work to forms of embodied experience, which themselves became a guideline as their pedagogy also began to form and to take physical space into account. Considering experience in

spilled over into “fine arts” disciplines: art history and art criticism, visual, performing, and media arts, and design. Of course, artists have been mixing the senses since time immemorial. What is new is the level of intensity with which artists (new media artists, in particular) have been experimenting with crossing and extending the senses through technology, and the degree to which schol- ars have sloughed off the ideology of “medium specificity” (as exemplified most forcefully by New York art critic Clement Greenberg’s stress on “genre purity”) and begun

Cast. Telepresent Characters as New Dramatis Perso- nae. MA Thesis in New Media, Arts, and Communication. Media- GN Groningen 1999. In: http://www.9nerds.com/isabelle/thesis/ index.html (Zugriff am 14.05.2002) Jenik, Adriene: Desktop Theater. Keyboard Catharsis and the Masking of Roundheads. In: The Drama Review 45,3 (T171) Fall 2001. S. 95- 112. Dies.: The Early Years of Desktop Theater. In: http://www.heelstone. com/meridian/jenik/jenik.html 6. (24.10.2001) Jeschke, Claudia: Körper/Bühne/Bewegung. Dramaturgie und Choreo- graphie als theatrale Strategien. In: Forum

geändert hat, ist, dass es inzwischen 1 Vgl. Daniels 2000/2003, Rollig 2000. 2 Vgl. Kravagna 2010. 3 Vgl. auch Graham 2010, S. 283: »Art has, of course, been dealing with issues of immateriality, virtuality, mechanical reproduction, conceptualism, time and audience participation for some time, but the notable thing about new media art is hat these fac- tors have been inherent starting points for the work, from wich further critical distinc- tions have been made – for each instance of a participatory

advertising facilities with rotatable informational Gustav Klucis, Untitled (Screen Radio Orator No. 5), 1922, Moscow 137 devices gave shape to the claim that abstract solutions had to be abandoned in favor of practical applications of art in the service of a new functional aesthetic.31 The integration of new media technologies in visual art and architecture was a consequence of this Constructivist programmatic. Creative liaisons between classical and new media were embraced and new solutions for implementation of these modern technologies in urban environments

Internets als Spielraum: »Das Internet ist das Theater der Zukunft!«5 Wo 1 Vgl. u.a. Brenda Laurel: Computers as Theatre, Reading, Mass. 1991; Gabriella Giannachi: Virtual Theatres. An Introduction, London/New York 2004; Matthew Causey: Theatre and Performance in Digital Culture. From Simulation to Embeddedness, London 2006; oder Steve Dixon: Digital Performance – A History of New Media in Theater, Dance, Perform- ance Art and Installation, Cambridge (Mass.) 2007. 2 Vgl. bspw. Der Spiegel 8/2007: ›Der

: Alberro, Alexan- der/Stimson, Blake (Hg.): Conceptual Art: A Critical Anthology. Massachu- setts: MIT, S. 12-16. Lichty, Patrick (2000): „The Cybernetics of Performance and New Media Art.“ In: Leonardo, 33. Jg., Nr. 5, S. 351-354. Lippard, Lucy R. (2001): Six Years. The Dematerialization of the Art Object from 1966 to 1972. Berkeley/Los Angeles/London: University of California Press. Lippard, Lucy/Chandler, John (1999): „The Dematerialization of Art.“ In: Al- berro, Alexander/Stimson, Blake (Hg.): Conceptual Art: A Critical Antholo- gy. Massachusetts: MIT, S. 46

. Drawing on Michel de Certeau (1984), one can say that an experience is an effect of negotiations between strategies and tactics. On the one hand, initiators use performative strategies to elicit particular reactions of the spectators, for example, drawing their attention to one element of the event. On the other, spectators often appropriate the strategies and tweak them for their own purposes. Whereas experience economy makes us wary of treating experience in the per- formative arts as subversive, UX design and contemporary new media discourse verify the liveness

selten vor, [...] das Spielen jedoch findet immer im ter Technology and Literary Theory, Bloomington: Indiana Univ. Press 1999, S. 31-41; Mark J.P. Wolf: »Time in the Video Game«, in: ders.: The Medium of the Video Game, Austin: Univ. of Texas Press 2002, S. 77-91; Jesper Juul: »Introduction to Game Time«, in: Noah Wardrip-Fruin, Pat Harrigan (Hg.): First Person. New Media as Story, Performance, and Game, Cambridge, MA: MIT Press 2004, S. 131-142; Michael Nitsche: »Mapping Time in Video Games«, in

- pated in are very promising in this regard. Furthermore, we will continue to pur- sue research on notions such as ‘quality of movements’ that could be derived from gesture capture system. We believe that such analysis should further enrich interaction paradigms with new media. We acknowledge partial support of the following projects: EarToy and Interlude (ANR – French National Research Agency) and SAME (EU – ICT). We thank all the members of the Real-Time Musical Interactions Team at IRCAM. 192 | FRÉDÉRIC BEVILACQUA, NORBERT SCHNELL, SARAH FDILI ALAOUI