Ken Feingold (USA), born 1952; MA in Post-Studio Art at California Institute of the Arts, School of Art, Valancia, CA, in 1976; since 1993 teacher at the Graduate Computer Art Department at the School of Visual Arts, NYC; lives in New York City.

A virtual masquerade party, a remote-control puppet-theater, a world, one of the unbearable hells, or the beginning of a new form of public space? These spin off at the thought of "Where I can see my house from here so we are..." The inconceivable space between „here" and „there" collapses in an audiovisual materialization of the connection, and those who meet in that place „lose" their body along the way, inhabiting another when they arrive.

Three small robot-puppets, each with a video camera-eye, and microphone ears, are together in a mirrored space in an exhibition site; its walls are high enough so that the robot-puppets can't see directly over them. Each robot-puppet is connected, via the Internet, to another space, elsewhere, in which their sight and hearing is seen and heard by a distant viewer-ventriloquist as projected video and amplified sound. In each remote space, there is a control device, consisting visibly of an opened attache-case-like object, revealing a joystick and a microphone. Utilizing these tools and remote-control software that I have put together, the viewer-ventriloquist may drive around the robot-puppet to which they are connected in the mirrored space, and when the remote viewer-ventriloquist speaks, their voice is "projected" through the robot-puppet, amplified within it, and moves the robot-puppet's mouth. In this way, three viewer-ventriloquists may meet in the fourth (mirrored) room. The space has physical limits for each robot-puppet, like national borders which they cannot cross...

Creating a videoconference among three ventriloquist puppets would be enough to ask the guest ventriloquists - "What is there to say? Does it make a difference that you are not seen, but only your projection - which sees and speaks and hears in your place? Is it the T saying 'Me' to 'It-You' (or its reflection)? That the one who stands in your place is not free to go where they wish, and that even as you move them 'freely' in their mirrored infinity theater, that there are borders? That they can see their wires but know not where they lead? And that in the space of the 'art exhibition' there is also a meeting of those who see but are not seen and those who learn to play the game with their projections?"