T R A N S C R I P T

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The view of the blustery sea or the dramatic sunset collapsed onto the picture window in the "Slow House" is framed, tamed, and technologized through complex cultural apparatus which assigns it value. As advanced technology strives to de-materialize its hardware, to purge the object, leaving only effects, can not the picture window, in fact, be considered a more advanced technology because its cultural mechanisms are invisible, unlike the TV console? But further, can distinctions such as "high" and "low" apply to technology if we acknowledge an expanded field of cultural technologies?

LIVENESS IS PRECISELY the mechanism of interactivity. The once passive subject becomes a co-producer of a work in perpetual generation. This is intensified in the space of the museum, as the work of art is allegedly produced in the face of the public. Choice is offered to the subject as a form of empowerment. The power offered to the subject corresponds with the control surrendered by the author... or so it seems. But as all variables are inevitably scripted into most interactive programs, choice is necessarily prescribed. This pre-determined indeterminacy is a kind of pre-lived "live."

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