At the Art History of Games Conference in Atlanta, Celia Pearce gave a talk about the history of interactive art before video games became popular. The difficulty that multimedia must always deal with when trying to gain access to something like a museum is that interactivity is an intrinsic part of the art work. While something like a Fluxus exhibit is easily recognized as only working if people can touch it, other forms of interactive media are often confused with their final product. A Jackson Pollock painting, for example, is just as much about the rhythm and flow of splashing the canvas as it is the final picture. For this reason, a lot of his paintings will feature a filming of the actual painting process so that the viewer has a better appreciation of a work that they might otherwise dismiss. This isn’t a concept that works just for painting. It can be relevant to any form of media.
One of the most interesting musicians making the internet rounds these days is Pogo, his music takes samples from films and converts them into unique tracks. Reworking syllables into new phrases and cutting music where there was none before, the video which accompanies the song often becomes intrinsic to enjoying the music. It resembles the need for Pollock’s painting to have an accompanying video because the two forms of media mix to create a greater appreciation in the listener. After flipping through a couple of different interviews that Pogo linked to on his website, I decided to just pick & choose the relevant responses then convert them into a post.