In this essay, Carlos Fadon Vicente explores the concepts of “interactivity” and “telepresence” in the work of art, tracing back the etymology of the two terms to religious rites. In the author’s view, “telepresence” entails symbolic projection, a non-concrete presence that is present and represented in a determined place. At its sacred extreme, telepresence is a form of omnipresence. In the secular world, on the other hand, it is at the heart of a number of inventions and events that emerged in the nineteenth-century, inventions and events that entail the simulacra of remote persons and settings: photography, the world’s fair, the telegraph, the telephone, the radio, and the television—which came to be a backdrop for world communications, replacing radio and printed media. Although implicit to any process of creation, production, perception, and interpretation of a work of art, “interactivity”—a sort of inner dialogue between the work and the reader/viewer—can only occur effectively through telematics. By means of telematics, that dialogue takes on external traits that can only be put into effect through specific interfaces that solicit concrete and/or virtual (or perhaps, simply reactive) actions within the inalterable person-work-machine triangle and the constituted natural environment. Fadon Vicente cites his own production and production by Eduardo Kac as examples of interactive works.