materials arrived at a deeper significance of ubiquity (the possibility of being present at all place at once or simultaneously), dematerialization (independence of the physical-material existence of the object) and participation (the use of interactive network resources) is without doubt brought about by the deployment of so-called new media—such as the telecommunications system.

All of the telecommunications projects developed from the 1970s onward, such as those of satellite art, [2] were basically attempts to transform the medium into a meta-medium permitting art spatial and temporal ubiquity. That was what gave Nam June Paik, for example, the idea that a work could be created in several different places at once, as outlined in the score «Do it yourself» in 1961. Paik’s efforts to accomplish meta-communication led to his most important contributions to satellite art, such as in 1977 «Nine Minutes Live,» his direct satellite telecast of performances in Europe and the USA for the opening of the Documenta 6 in Kassel, and in 1984 «Good Morning Mr. Orwell,» organized jointly by the Centre Pompidou and the broadcaster WNET-TV, with which

Paik succeeded in realizing a live satellite program that was participative as well as simultaneous. According to Paik, satellite art was destined to become the most important non-material work [3] in post-industrial society.

The formation of international projects in the 1970s was a crucial stimulus for art in conjunction with telecommunication as well as for the notion of ubiquity. The Brazilian Waldemar Cordeiro, [4] a pioneer of Computer Art, in 1971 identified the inadequacy of communications media as a form of information transmission and the inefficiency of information as language, thought, and action as being the causes of the crisis of contemporary art. [5] Cordeiro asserted in his Manifest Arteônica [6] that art whose main emphasis lies on the material object restricts audience access to the work and therefore meets the cultural standards of modern society neither qualitatively nor quantitatively. Cordeiro’s deliberations in regard to global networking and free, telecommunication-enabled audience access to a work of art anticipated the notion of ubiquity, participation, and net art.