“Art Should be Felt” is a response against the act of art seen as only an image, especially evident on social media, where works are seen as captured novelty and backdrops. This movement calls for the experiencing of art in its intended and curated spaces, to explore the relationship between art and its space, art and its nature, and art and its viewer. As in Berger’s “Ways of Seeing”, we stand against the reproduction of images of art on a smaller screen to preserve the value of experiencing it.
Starting as a performance artist, Eduardo Kac expanded his range of works by experimenting with technology in art. His first few years saw him exploring holography as new forms of interaction in works. Interested in the possibilities of telematics and telepresence, his new media works began to dive into themes of genetics and new biotechnologies, merging technology, politics and aesthetics .
NEW AREAS OF CONTEMPORARY ART
Kac coined “telepresence art”, “biotelematics” and “transgenic art” as new areas of technological art, shown through his works and writings.
Telepresence art – “merger of telerobotics and communications media”
Biotelematics – “art in which a biological process is intrinsically connected to computer- based telecommunications”
Transgenic art – “art form using genetic engineering to transfer either synthetic genes to an organism or natural genetic material between species so as to create unique living hybrids”
“Ornitorrinco” 1989-1998: a telerobot that would respond to signals sent through selected telecommunication devices from different locations, where a remote audience could. (Telepresence art)
“Teleporting An Unknown State” 1994-1996: a system for a plant to grow and live in a gallery, where its light source is provided through viewers of the work on the Internet. Video of an image of the sky in the viewer’s home location is projected onto the plant. (Transgenic art)
“Genesis” 1998-1999 (Biotelematics) – chosen work