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Volume 11, Issue 3
  • ISSN: 1477-965X
  • E-ISSN: 1758-9533



Postnational, or after or more than national, is a world that connects the international with the local. Technollaboration, is how creative digital communities use technology to improve methods and environments for collaboration. Postbiotanical, after or more than biotanical, represents the future of human-centric collectives around farming and urban living and sustainability. Village, is ambiguous and raises the question how large is local, and how does a village-centric view impact the way we treat each other? Art traditionally functions as an environment for philosophical and creative activity that works to secure its borders from intruding dictatorial ethics, ideology, politics or dogma that might sully its aim to maintain its open arduous exploration of the clash between image and meaning, icon and significance, or perception and identity in reference to culture and history. Integrating technology into this discourse introduces a milieu of associations, expectations and conclusions about how technological innovation, practices and products should be steered, which can also influence what we both make and teach. The web has since evolved into a pervasively instantaneous space for more involved forms of communication (Google hangout), content sharing (SVN), publishing (blogs), community building (messageboards, Facebook), creative performance (Isadora) and more. Now creative interactive initiatives are not limited to merely making a statement or triggering a semiotic synapse, but rather can have a social impact, enacting, mobilizing and serving as a resource for the public. Telematic Art that includes the activities surrounding Digital Communities and their behaviour, does not merely provide an environment to discuss social issues, but embodies social interaction in ways in which new forms of collective expression can be realized. The development of telematics tools is empowering for the public while serving as a medium that influences how individuals interact.

Between DIY/DIWO models, open source hardware, software, and creation initiatives, practivist initiatives, creative hacking ideologies, immersion, and web-based communication tools to localize the international collaborative workshop, I believe our formats for education and exchange are becoming more collective and empowering, and with the inclusion of digital social collaboration initiatives seen in myriad examples of Telematic Art, there exists the potential to motivate a mindset desiring new shifts in perception and making with the goals of serving the global community in significant and direct ways.


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