The now undisputed figure of Ascott has led in recent times to consider its core analog pioneering

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The English artist and theorist Roy Ascott was the first to have applied to art theories of cybernetics - defined by Norman Wiener in '48 as the scientific study of communication between animals and machines - and telematics - a term used to describe Since 1978, the convergence of communication with the computer. His theories have found practical field in a project destined to become historic, exactly thirty years ago. In 1983, invited by Frank Popper in the exhibition Electra. Electricity and Electronics in the Art of the XX Century at the Musée d'Art Moderne de la Ville in Paris, Ascott accomplishing his pioneering project The Plissure duTexte: A Planetary Fairytale (The interweaving of the text: a fairy tale planetary), also known by its acronym LPDT. The title is a clear reference to the wise of the French critic Roland Barthes, ten years earlier came out with the title The text du plaisir (1973), a famous essay, which among other things, investigating the role of the author and the reader, as a decisive contribution to the text. Ascott of authors and readers foresees manifold.
For Plissure duTexte: A Planetary Fairytale artists and authors of eleven locations around the globe, including the United films to watch States, Canada, Europe and Australia, were asked to help create a "planetary films to watch fairy tale." The text of the narrative of one was continued by another from a remote location, with the same spirit films to watch of the surrealist game Corpse exquis (corpse refined), as noted by the media theorist Edmond Couchot.
Ascott makes use of the full potential of the network and telematics at the time, to put into practice his concept of "distributed authorship." This project has now entered its history, but its origin dates back to long before this date. In this regard, we want to recall his writing The Construction of Change, originally appeared in 1964 in "Cambridge Opinion. 41. Modern films to watch Art in Britain. " This is the first text published by Ascott to redefine the art in light of cybernetics Wiener. Immediately understand the impact of cybernetics on society and the consequent role of art in intercepting these changes, meant to project, ahead of time, a new definition of artistic interest through information, interaction and behavior. Thinking and structuring the work as a set of relationships in which include interactivity, and thus the change, consider art in its educational role, it meant bringing up her appearance procedural and behavioral anteponendolo to the final result.
In 2010 and 2011 the Plissure films to watch du Texte has been reworked and redesigned by its initiator with the modern tools of communication and collaboration with Max Moswitzer, Selavy Oh and Elif Ayiter in Second Life. These subsequent versions, and LPDT2 LPDT3, structured films to watch architectures and geographies text that arise between worlds and dimensions, where autonomous robots intervene by acting films to watch as nodes of communication between narrators, where visitors can interact in the physical space through the sending of messages or phone via Twitter.
The now undisputed figure of Ascott has led in recent times to consider its core analog pioneering work which foreshadowed his theories on the network, interaction films to watch and telematics. A series of projects of the kind, made between 1963 and 1970, was presented by Plug In ICA, with Video Pool Media in the summer of 2013.
The breadth of vision of Ascott, nourished by his constant commitment to teaching still lively with its international films to watch research platform I-Nodes, is what to date has guided the intuition of this artist and theorist towards continuous advances films to watch and visions on the different ways in which the technology is intertwined with the man, in his physicality and its social organization. Among quest