Marshall McLuhan perceived the future cultural effects of technology on art and nature:
I expect to see the coming decades transform the planet into an art form; the new man,
linked in a cosmic harmony that transcends time and space, will sensuously caress and
mold and pattern every facet of the terrestrial artefact, as if it were a work of art, and
man himself will become an organic art form . . .we have begun the journey…the story
begins only when the book closes. (McLuhan, E. Zingrone, F., 1998, pp 268 – 269,
Playboy Interview, 1969)
The LocoMotoArt in Tatlow Park exhibition extends my MA thesis work Utilizing the
Natural Environment for the Exhibition of New Media (Coles, Pasquier, Gromala, 2012).
From 2009 - 2011, I explored the polarities of acceptance and rejection of digital
technologies in contemporary culture through a series of projects by artists using
LocoMotoArt for technologically mediated performances in caves, forests, and beaches
on the Big Island of Hawai’i (USA) and in Vancouver, British Columbia (Canada). This
body of research work was presented at the International Symposium of Electronic
Artists (ISEA- Istanbul – 2011); Computer Human Interaction Conference during the workshop User in Flux, (CHI-Vancouver -2011), and at York University in Toronto, during Staging Sustainability, Arts, Community, Culture and Environment conference in April 2011.
I argue that digital technologies and their ubiquity provide new opportunities for humans
to reconnect to nature. Findings indicated the notion of Human, Technology, Nature
interconnectedness is a possible conduit for establishing a relationship with digital
technology beyond social networking, computing, information gathering and gaming, thus providing cognitive and social benefits of interacting with nature. I term this sense of intermediacy between digital technological mediation and nature as the HTN triadrelationship.