October 19, 2023

Inter/Access:

Remember Tomorrow – A Telidon Story

There was a warm, fuzzy feeling at Inter/Access on the evening of October 19, 2023. The organization was celebrating 40 years as a center dedicated to expanding the cultural significance of art and technology.

Installation view of “Remember Tomorrow: A Telidon Story” at Inter/Access.

Before that evening I did not know that Inter/Access was originally named Toronto Community Videotex or TCV, and that it was first set up as a non-profit, artist run corporation to provide tools for artists using Telidon.

Yes, Telidon. The Telidon program, a television-based information-sharing system that allowed users to browse computer databases, was developed by the long gone Canadian government department called the CRC (Communications Research Center.) The program began officially on August 15, 1978 and ended on March 31, 1985.

“Transmitting Information over Telephone Lines,” diagram from Inter/Access website.

Wandering around the show I got the feeling the Telidon developers were so close to something, groping around in the virtual landscape — blindly, unable to quite make it happen — but knowing, absolutely, they were there, at the beginning of something.

A Telidon Terminal

Telidon was a proto-type for the Internet. It was a 24/7 source for information. All you needed, as a user, was a Telidon terminal and a keypad. It was interactive! I think it was the interactivity part that really got the original Telidon artists hooked.

Detail of “She Seemed to be in Transit” by Johanne Daoust, produced using Telidon

The concept of simultaneity was another idea that was intoxicating to artists. Toronto gallerist Paul Petro, one of the original founders of TCV and an artist using Telidon, spoke during the evening about the excitement of hosting an art opening in three different cities, at the same time!

An early “selfie” created with Telidon by Paul Petro

The images created with Telidon have a blythe, cheerful, pop art look. They are rendered in time as layers load and intersect in a satisfying, somewhat hypnotic, display.

Installation view of “Remember Tomorrow – A Telidon Story” at Inter/Access

This exhibition explores the allure of Eighties hardware and, well, I guess you could call it lifestyle. Big television sets that look like credenzas, potted palms and wow, orange shag have been lovingly installed in the Inter/Access gallery.

Installation view of “Remember Tomorrow – A Telidon Story” at Inter/Access

Lots of obsolete hardware is on display. By lifting a telephone receiver and pressing “rewind” and then “play” on a tape deck the gallery visitor can listen to interviews with participating artists. (Unfortunately several of the taped interviews had been inadvertently erased during the exhibition because users were unaware of the lost art of “removing the tab” from a cassette tape to prevent just this type of mishap.)

Installation View of “Remember Tomorrow – A Telidon Story” at Inter/Access

The exhibition catalog, put together by curator Shauna Jean Doherty, contains the most endearing story about the Telidon artworks selected for the Venice Biennale of 1986. Created on a series of floppy disks and “playable only using specialized hardware” the artworks were indeed shipped to Italy for the big show, but because of technical difficulties they were never put on view, and instead sat in a cardboard box for four decades.

The whole show has a sort of elegiac feel to it. Maybe it’s about mourning the loss of innocence in regard to technology.

The past is but the beginning of a beginning, and all that is or has been is but the twilight of the dawn…”

Douglas Parkhill, one of the father’s of Telidon, quoting HG Wells in a report chronicling Telidon’s history, from the exhibition catalogue.

The developers definitely did have a romantic view of that brief, Telidon moment. There were some catchy words and phrases that picked up the “beginning of the beginning” vibe and quickly rose and fell: Whatever happened to “informatics,” “Instant World,” “Telematic Culture” or the “Information Paradigm?”

Detail of Installation view, “Tomorrow Remembered – A Telidon Story” at Inter/Access

But it hasn’t all disappeared. Thanks to John Durno, head of Library Systems at the University of Victoria, an operational Telidon decoder does exist and numerous Telidon artworks have been restored and are ready to be returned to Venice for a conference this year.

Detail of Telidon image by Rob Flack

“Sherry” Telidon image by Glen Howarth
“Telidon Commercial,” Telidon image by Don Lindsay

1983..1983…1983…? To be honest, I can’t recall anything specific about that fateful year. Fortunately we now have the Internet to fill in the blanks:

  •  In 1983:
  • The metric system of weights and measures was officially adopted by the Canadian federal government.
  • 25 Red Brigades were sentenced to life for kidnapping and murdering Italian Christian Democrat politician Aldo Moro in 1978.
  • Singer and drummer of The Carpenters, Karen Carpenter, died from complications caused by eating disorder anorexia nervosa, age 32.
  • Though already available in Japan and Europe, Sony and Philips released their CD players in the US and Canada. Though a compact disc player costs over $1000, they prove to be extremely popular.
  • Michael Jackson’s Thriller went to number 1 in the US 200 Billboard album charts for 37 weeks, setting a world record for the amount of time an album stays at number 1.
  • Astronauts Peterson and Musgrave perform the first spacewalk of the shuttle program during NASA’s STS-6 mission. The spacewalk lasts over four hours.
  • Israel and Lebanon sign an agreement to take a step towards peace.
  • The Internet took a step towards its creation as ARPANET (Advanced Research Projects Agency Network) was moved to TCP/IP (Transmission Control Protocol and Internet Protocol).
  • Arcade game Mario Bros. was released in Japan. The arcade game, produced by Nintendo paved the way for future Mario games to become one of Nintendo’s greatest creations.

September 15, 2019

Loner Culture at Inter/Access

To be a loner today is to raise suspicions.  We know now that Alek Minassian, Adam Lanza, Dylan Klebold, Elliot Roger, and many others, stayed in their rooms, alone, until rage and frustration drove them out, in a frenzy, to commit mayhem.

Loner Culture, the exhibition currently on display at Inter/Access is about something else.  It’s about trying to connect.  It’s social.  And weirdly, to be social, is to exclude one group in favour of another.  That’s the human way!  Sometimes the exclusion piece means solitary confinement in a pink bedroom.  But it’s temporary — a brief, high-drama interlude, an emotional eddy on the river towards self-actualization.

The exhibition re-creates vestiges of the long lost bedrooms where the tender, new self was honed and tested.

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Above: Installation at Loner Culture

I chatted with one of the artist’s in the show, Suzanne Kite, through her live link on the Discord Platform.  She described how in her late teens and early twenties she traveled hours on connecting buses to make the scene.  In her case, the scene was an all ages DNB Happy Core Trance House DJ event in some off-the-beaten track warehouse in a remote corner of sprawling LA.  That is dedication!  That is really wanting to be there!  Needing to get it absolutely right and knowing that the others at this event are just like you!

By the way, if you do not know — like me– the difference between DNB (Drums and Base) and Happy Core you can watch a tutorial above:

Suzanne Kite identifies herself as a Oglala Lakota performance artist.  When the movie Pocahontas came out in 1995 Suzanne Kite’s parents bought her absolutely every conceivable Pocahontas tie-in item.

According to Wikipedia:

… promotional tie-ins included Burger King distributing 55 million toy replicas of the film’s characters with kids’ meals, Payless Shoes selling a line of moccasins, and Mattel peddling a Barbie-like Pocahontas doll.[93]

Payless!  Obviously Indigenous youngsters, especially girls, were starved for dolls, toys and anything else Mattel and Payless could come up with that somehow related to them.  Suzanne Kite has carefully saved these items.  They are displayed on the walls of the gallery overlaid with projections of posters from her youthfully intrepid music life.

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Detail of installation by Suzanne Kite titled “Better Off Alone”

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Installation view of Suzanne Kite artwork “Better Off Alone”

Typing on the keyboard filled the large space at Inter/Access with Suzanne Kite’s favourite music from that era:

Video of interactive installation by Suzanne Kite

With all the memorializing of the past bedrooms of origin it is hard to keep the decades straight.  Patti Smith, Michael Jackson, Lydia Lunch and B52s must mean late seventies or early eighties.  But no, nostalgia has already kicked in.  This is a moment in the early 2000s where icons from twenty years prior are revered.

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Above: Installation detail from Loner Culture exhibition, re-creating a bedroom from the 2000s.

Both Thirza Jean Cuthand and Fallon Simard presented bedroom-ish settings and both featured monitors.

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Installation by Fallon Simard

In Fallon Simard’s piece the utterly bland dresser, standing alone in the rather cavernous, grey space, has a bleak feeling.  It is free of knickknacks and/or personal items of any kind, something that might indicate an era or anchor a sensibility. Instead there is a cold sense of isolation and detachment. The monitor displays anti-homophobic/transphobic internet memes with vague, delicate, pastel backgrounds.

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Art work by Fallon Simard

A camera is clipped to top of the  monitor in the Fallon Simard piece.  Are we observing or being observed? 

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Installation by Thirza Jean Cuthand

Thirza Jean Cuthand provides a heap of cushions and head phones to kick back and watch videos.   The tapes by Thirza Cuthand have a graceful poetic sensibility throughout.  The artist is fearless: sex, insecurity, fear, sex, mental illness, rage, grief, sex, youth, race, sex.  All the topics that are endlessly pondered in bedrooms around the world are covered here in an inventive and original voice.