The Mother of Facetime

On a November evening in 1980, a remarkable performance art, Hole in Space was held on the two sides the United States. Kit Galloway and Sherrie Rabinowitz had their two life-sized screens installed at the Lincoln Center for the Performing Arts in New York City and the department store at the open-air Shopping Center in Los Angeles. The audience at Los Angeles and New York City could see and speak to each other through satellite technologies. The audience was extremely excited to interact with people across the state. As it was not easy to travel 2789 miles (est. from east to west in the United States around the 1980s. Even now, it will take estimated 5 hours to travel from Los Angeles to New York City by air. Also, video call was only common for consumers in the early 2000s.

The travel distance between Los Angeles and New York City,+NY,+USA/Los+Angeles,+CA,+USA/@36.349707,-114.2788323,4z/data=!3m1!4b1!4m13!4m12!1m5!1m1!1s0x89c24fa5d33f083b:0xc80b8f06e177fe62!2m2!1d-74.0059728!2d40.7127753!1m5!1m1!1s0x80c2c75ddc27da13:0xe22fdf6f254608f4!2m2!1d-118.2436849!2d34.0522342

On the first day of the performance, the audience was unsure about what was going on with no instruction or signs were provided. They started to interact with strangers on the screen to clarify their thoughts. Interestingly, from 04:50 in the video above. We can see the change in audience’s body language that they moved closer to the screen. They were trying to imitate the physical interaction, and chatting casually with each other, although they might be complete strangers. A middle age male audience even questioned the interviewer if the people he saw on the screen are actors.

On the second day, the audience went to the installation to participate in the performance through the word of mouth. A male audience wearing sunglasses declared that he heard it from his friend. I think this performance art had encouraged the interaction beyond the performance to the certain extent. On the last day, most people decided to come after mass media announcement to meet their friends, family and loved ones, just like how we Facetime our friends nowadays. The reaction of the audience likely reached the climax of the whole performance. They were laughing, screaming, and shouting at each other. You can see the audience jumping and kneeling on the floor to express their excitement near the end of the video attached.

In my opinion, this performance art is a success, as it encouraged audience engagement. Where the audience were fully involved in this piece. The setting of the performance is the key to encourage people to be interested in participating.

“The sculpture gives form to a social space that is at once displaced and intimate. People are enthusiastic to make contact with others in a much more uninhibited manner than could be found in the normal urban environs of New York or LA.”

Firstly, there is no description and instruction which created curiosity among the audience. Secondly, the performance was held in the public space with its life-sized scale screen to attract attention. Lastly, it was able to create emotions, such as happiness and excitement when the parents saw their daughter on the screen (from 10:25 in the video). The artist’s’ role here is to create the space for the audience to participate in the performance instead of letting the audience watching the artists chatting using satellite technologies. Last but not least, this performance was probably erasing the geographical boundaries, and pulling people closer, even strangers through the “third place”.


The Third Space

Foth, Marcus. 2012. From Social Butterfly To Engaged Citizen. Cambridge, Mass.: MIT Press.




Read this essay and reference in the writing assignment below:

(1) Vaidhyanathan, Sida (2005) “Open Source as Culture-Culture as Open Source,” The Social Media Reader. New York: New York University Press, 2012

(2) Packer, Randall, Open Source Studio, IEEE Spectrum, 2015



The tradition creation and production of art had transformed from physical space to cyberspace. The world we are living today is connected to the internet, and our lives are involved with all kinds of social interaction including art and education. This phenomenon could probably be traced back to the 1960s and 1970s when personal computers, networked computing and graphical user interface (GUI) were invented. The boundaries between art and science started blurring, due to the rapid development of the Internet. Artists and designers were able to artists and designers to collaborate globally. In the mid-1990s, open source studio (OSS) was first used cooperatively with browsers that are non-profited or with limited profit sharing.

NTU School of Art, Design, and Media Open Source Studio

Further, OSS has been used at NTU School of Art, Design, and Media after professor Randall Packer joined. This platform allows ADM students to share ideas, techniques, and aspirations. Students are no longer constrained by the physical arrangement of the classes. A project is not a singular task of individuals. Instead, this network encourages collaboration (DIWO) and experimentation. Students are free to appreciate, comment and share each other’s works.

However, OSS is facing the challenge of the current situation where some artworks are only exhibited with profit-driven organizations. Therefore, some artworks are only able to reach a limited amount of audience which is probably restricting the creativity and productivity. In addition, there is conflict between OSS and proprietary model. According to Richard Adkisson, the belief in high levels of intellectual-property might control over the creative process, as creator might not allow accessing certain sources legitimately for innovation.

All in all, open source studio is beneficial for the art and education. It is because it allows artist, student, and educators to share information and create collaboration opportunities in the cyberspace. However, the profit-driven market and proprietary model seem to go against OSS, as the result of limiting the creative process.



Vaidhyanathan, Sida (2005) “Open Source as Culture-Culture as Open Source,” The Social Media Reader. New York: New York University Press, 2012

Packer, Randall, Open Source Studio, IEEE Spectrum, 2015

Micro-Project #2: Tele-Stroll – ALOE YOU VERA MUCH

Posted by Daphne Natimin on Tuesday, 23 January 2018


Daphne and I decided to create the live broadcast of us getting ready for school in the morning, as both of us experienced long-distance friendships. We always eat with friends through video call or co-broadcasting. Sometimes, we will just leave the broadcast on and do our own work without talking. Thus, for this project, we planned to do our daily makeup together in the “third place”, just like how we usually dress up together in the physical world.



We set the time to wake up at the same time in the morning and followed the makeup steps that we planned out. The instructions sheet was placed near us and outside of the frame. The skincare and makeup products were opened and laid on the table in advance. Since we only had one hand to do our makeup and another hand was holding the phone.  We also planned to let one person lead the movement to make our video more synchronized.



Lastly, I realized that we can actually communicate with each other through eye contact and lip language after watching the recorded live video. The physical distance did not affect how well we can understand each other with the help of FaceBook live platform.

Micro Project #1: Experiment in Social Broadcasting

Hi I'm ART

Posted by Bella Dai on Thursday, 18 January 2018


It is interesting how the Internet can bring everyone into the third place, where we can share what we experienced in the 15 minutes at the same location on the little screens. In the past 15 minutes, I tried to interact with people who are watching the live broadcast although I might not know them. Also, I started talking to people around me and sharing them on my live broadcast.

The Facebook Live Video Wall