hello Mathew,
> 1. emulation (development of an interface that can recreate the
> environment of conception); 2. migration (moving the work along the
> way celebrating and suffering through its mutations); 3. recreation
> based on the artists intention. I would also propose a distributed
> model to this as well where mulitple copies of the work would be
> stored on separate databases that either are or are not in the musea
> location.
Aren't these strategies for preserving work rather then strategies
towards security around an interactive art work? I can imagine that in
order to keep a work or parts of a work from being stolen or damaged
musea would choose to have only a documentation of work available, next
to the work itself (think of Systems Maintenance by Perry Hoberman,
which should be in the (f.ex.) Guggenheims permanent collection in my
point of view) behind glass. It is also imaginable that (to follow your
lead) musea would create 'replica's' of a work (next to preserving the
work in the most ideal manner thinkable) to offer the audience an
impression of the interactive experience that is in this work.
> It would be also interesting to consider interactive
> installations that incorporate not only screen based technologies but
> the building and development of electronic circuits, that fizzle,
> sizzle, crackle, and pop to the users pleasure or discomfort.
I don't think it all needs to be electronic to be interactive. :)
The term 'interactivity' is so unclear and questionable of course.
Having a discussion about something being 'too interactive' is
interesting though. I am not a curator but 'too interactive' seems to
mean two things to me: first the work is in danger of being changed,
stolen or damaged by the audience; second the work has an interactivity
level that is 'intimate' or highly involving for a small group of people
only, creating an unpredictable outcome. In case of the latter I think
we can speak of interactivity in the purest sense of the word. The
interactivity Hoberman mockingly spoke of in the quote Cyper sent has
been called a very funny and appropriate name by Austrian artist
Margarete Jahrmann : interpassive.
best
J
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