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 NewMedia 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
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 (newmedia 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
Cast. Telepresent Characters as New Dramatis Perso-
nae. MA Thesis in NewMedia, 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-
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 newmedia 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
Radio Orator No. 5),
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 newmedia technologies
in visual art and architecture was a consequence of this Constructivist
programmatic. Creative liaisons between classical and newmedia 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 NewMedia 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 NewMedia 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
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 newmedia 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. NewMedia 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 newmedia.
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