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Abstract
New digital technologies enabled the Virtual Reality movement in the 1990s, which led to the euphoric belief that we could virtually teleport ourselves to a distant location with such great realism that we would lose our awareness of the enabling technology. Especially in the particular case of music collaborations, however, it has meanwhile become clear that this goal is unreachable because of the unavoidable transmission latency over long distances and other secondary factors. This article explores how we can create new and better design goals for telematic music collaborations by treating telematic systems as a new class of musical instruments. From this viewpoint, the creation of new art forms for the new medium becomes a central challenge, in addition to the development of better telematic technology. In particular, the new works need to focus on the affordances that the telematic system introduces, not just circumnavigate current system limitations.
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Acknowledgements
Part of the work described in this article has been funded by the National Science Foundation (NSF, CreativeIT #0757454). I would also like to thank the members of the Telematic Circle for giving me the opportunity to experience telematic music so intensively. After all, it is very difficult to perform telematic music, in the sense it was discussed in this article, as a soloist.