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"Prophet and Lossy" [mp3 removed]. I did this in 3/4 rather than the usual 4/4 and added some exciting key changes in the second dropout! I might snip out a bar or two at the beginning; still thinking about that.
Mailbox
Hey Tom,
I've been thinking about interactivity in art lately, which I think is a bit of a divider into two camps of new media artists. Seems like most of the artists I'm into don't use interactivity that much. But there are some artists who always do and almost seem to consider "interactive" and "new media" to be synonymous. But a lot of the interactive stuff I see, I don't totally get why it's interactive. Seems like if it is interactive, there should be some really compelling reason to make it so, and the interface is extremely important. Otherwise it starts to feel like it fits better in the Museum of Science and History than the art museum.
My main question is: where do I look for a history of interactive art? Any particular artists to check out? Surely there was interactive work before computers, and maybe even an early interactive "movement"? Or maybe it is relatively new? --PS
Dear PS,
"Interactive" is one of those buzzwords like "multidisciplinary" that grant panels love. I've always been critical of art that feels like it belongs in the Exploratorium. (Until 20 years later, when it becomes great kitsch.) Agreed, some (most?) new media artists require interactivity, no matter how dumb or pointless, for admittance to the Club. One computer gallerist calls me a Modernist because I believe in "stand alone" art. It's not so much a belief system as feeling that certain things are right for certain venues. I'll sit at home and click a mouse surfing for hours but resent it when someone puts a mouse on a ledge in a gallery and expects me to start navigating something to "get" the art. The gallery is better for a "heads up," moving around experience, movies are better for long narratives, and your computer at home is best for "net art." The art should fit the physical environment and the expectations of that environment.
Historically interactivity started in the '60s with kinetic art and holography, and the "anti-object" ideas of conceptualism. Michael Fried's famous essay "Art and Objecthood" was one of the first to identify what he called "theatricality" in art. But there's a big difference between the theatricality of moving around a Minimalist sculpture and thinking about how your body and the room define the experience--which was a good thing to learn--and the obligatory joystick with a sign that says "Join me in 'making' the art according to 7 preset menu choices!" After the '60s, computer science departments started grafting half-baked versions of conceptualist and minimalist concepts onto the emerging net art and robotics art fields. Thus, what we have today. I try to be open about stuff, but always ask "What purpose does this interactivity serve?"
--Tom
(I dodged the question about specific artists practicing interactivity--any contributions to an etymology of the term would be welcome.)
More Mailbox
Hey, Tom,
I've been meaning to ask you about your RSS feed. In my news reader (bloglines) your blog almost always shows new content, even when I've already read the posts. After I read them they show they've been read, then the next hour they show up as new again...I'm wondering whether your RSS feed has some strange autonewness feature, or whether it's just that you go in and change a typo or something and the old post inadvertently gets tagged as a new post.
[N]o big deal either way, but your blog is the only one I monitor that does this. --DR
Dear DR,
I rewrite the posts a lot. Sometimes the meaning changes as I rewrite and refine what I originally posted. Sometimes I find egregious, embarrassing typos. I don't always write "updated" at the bottom so it may seem Orwellian to some that the content changes. One person was slightly shocked to learn about this tinkering but said it was "between me and my conscience." Where's the rule book exactly?
Anyway, if the RSS is showing those revisions--or at least flagging that revisions have occurred--that's actually a true reflection of how the page evolves.
If other bloggers don't do this it's entirely possible they never revise their pages. God knows I see a lot of pages that need to be revised. --Tom
Dear DR (followup email),
I have another site--tommoody.us--which is a Word Press blog unaffiliated with the Tree. I just revised a post there as well as on my Tree page. Bloglines showed both as "new posts." So it's not the Tree's /xml feed. I wonder if it's configurable on the bloglines side--that is, if you could tell it not to notify you of updated posts?
Thanks for bringing it to my attention--people are probably irked by my constant revision. I think this proves that no one else is revising their text, that's why you don't see it.
Amazing blog slobs.
--Tom
Dear DR (second followup),
Just looked more closely at my own bloglines subscription. Under "edit subscription" there is an option "Ignore Updated Items." For mine I had evidently chosen "Updated Items--Display as New" at some point (don't remember doing it). If anyone chose "Ignore" and is getting new post notifications, please let me know.
--Tom
Onion interview with director Whit Stillman: he's dry, self-effacing, and funny, just like his movies:
AVC: To extend the Citizen Kane analogy, you were nominated for a Best Screenplay Oscar [for Metropolitan] on your first try, just like Welles.Or later:
WS: I like these analogies. [Laughs.] But my idea was that The Last Days Of Disco was going to be the Citizen Kane of romantic comedies. [Laughs.] I like to defend Disco because it got a beating in some corners.
AVC: Why do you think that was? Why didn't people respond to it?
WS: I think I touched the third rail of popular culture, which one should never do. The third rail of cliche. A lot of people had very firm ideas of what disco was. They weren't my ideas, nor what I wanted to show. And then I later found out that many of the people who were so authoritative about how our disco period wasn't "real" disco had no information of their own. They were just going from having seen Saturday Night Fever or something. I imagined these journalists lambasting us for inaccuracy to all be habitues of Studio 54. No, not at all. [Laughs.] They would all preface their comments with, "Well, in that period, I only liked punk music. I hated disco. But this film is not..." Whatever. Anyway. For me, it was exactly as it was in my head.
AVC: Those scenes in The Last Days Of Disco work a lot like the closing scenes in Metropolitan and the closing scenes in Barcelona, in that they all introduce a note of hope into movies that are about a golden era coming to an end.
WS: For me, the present is a golden era that's ending too. That's the greatest golden era. Right now. [Laughs.] I just like pining for lost times. I can pine for this morning.