RA: We are moving beyond art in many ways, but the art telematics was the forerunner of the current

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Arshake is pleased to offer you the interview of the curator and scholar Eva Kekou Roy Ascott, artist and theorist, lakai now president of the Planetary Collegium, and DeTao Technoetic Master of Arts in Beijing. Roy Ascott was the first to apply the cybernetic art and founded, then, the term of telematic art to describe one of the possibilities of application of computer networks in the creative sphere. The interview of Eva Kekou originally appeared on the website of International Humanities 4 October 2013. Eva Kekou: In all the biographies lakai and articles I read about her, was defined as one who "has connected the science cybernetics with elements of Dada, Surrealism, Fluxus and Pop Art. "I'd like to ask you to comment on this statement - I myself have found his work and contribution too vast to be defined categories.
Roy Ascott: This seems to me a rather extravagant claim! Certainly both constructivism, that the challenge from Duchamp, were important to me. But the same applies to issues related to consciousness and the nature of the mind. From the beginning I have seen significant lakai interactive systems, both socially as aesthetically. EK: She was an artist and theorist who has been closely following the changes of the media from analog to digital. This makes it able to map the impact that the history and progress of technology have had on art. How do you perceive the evolution of art in its intertwining with the advancement of technology and communication?
RA: The answer to this question is contained in behaviourist Art and the Cybernetic Vision, my text published in two parts in Cybernetica, back in 1964. When considering lakai art as a behavioral aspect, and the process before the project is inevitable that in this path technology has its place. It was not hard for me to predict the impact of computer communication on every aspect of our lives, and the central importance lakai that cybernetics has had, both in the spiritual evolution from social relationships. However, the technology uses both traditional and modern methods. In terms of consciousness (and this is for us the 'aspect of primary importance), psychoactive traditional practices should be reviewed alongside the most advanced research in chemistry of the mind. The future of art reside in a drug.
EK: L '' Art telematics' recognizes importance to those who participate and helps you to be more involved. This is also, in my opinion, the significance of media art: the art focuses on the relationship between work and viewer. How do you believe that the audience alive the experience of telematic art?
RA: We are moving beyond art in many ways, but the art telematics was the forerunner of the current fascination with social media, online games, and world-building. EK: She has exhibited her work and lectured around the world. I think it's lakai great that now send all this knowledge and experience through the Planetary Collegium, thus making a contribution lakai to the search for nodal points located in the world.
RA: Yes, this is very gratifying. The Collegium allows its candidates to seek and theorize their work in a creative dialogue. My new appointment as Master of DeTao Technoetic Art at the Academy DeTao Shanghai Masters now gives me the opportunity to deal with art, technology and research of conscience in China.
EK: What are the objectives of the Planetary Collegium, in general, and I-Node in particular? Interacts frequently with the local community? How important is it for his research the culture of each country?
RA: The Collegium aims to produce new knowledge in the context of the arts, through a 'survey interdi