Guest Post by James Pepper Kelly
Imagine that a writer named Judith H. Dobrzynski boards a plane. Sheâ€™s ambivalent about her recent op-ed for the New York Times, â€œHigh Culture Goes Hands-On,â€ in which she mourned the loss of a classic, passive museum experience. The response was decent (63 comments and a spot on the “most-emailed” list), and the negative response didnâ€™t go much beyond baseless ad hominems (â€œcrank,” â€œelitist”). But real-world impact? Judy sighs. She tries not to think about institutions these days, their obsequious rush to digitize, crowdsource, and create a â€œfun experienceâ€ for all. Instead, she thinks about real change: about her upcoming fellowship at the Salzburg Global Seminar in Austria, and how sheÂ helped influence the country’s new Holocaust restitution laws. Judy sinks back into her business class seat (being a Fellow has perks!), orders a tomato juice and relaxes, thinking of all the reading sheâ€™ll be able to catch up on in the air.
Imagine that a writer named James Durston is excited. Heâ€™s boarding the brand new Boeing 797 Dreamliner and is going to be live tweeting the experience from business class (dimming windows PLUS free booze!). Heâ€™s got way too much editing to do, but right now heâ€™s feeling good about his latest op-ed for CNN Travel, â€œWhy I hate museums.â€ Sure, only 400 comments (something like 10 times that many for the â€œfat taxâ€ piece) but he did score official responses from theÂ Art Institute of Chicago and the American Alliance of Museums. He makes a mental note to re-stir the pot with a follow-up in early December. James tosses his bag in the overhead and sits down, mentally composing a tweet about the woman beside him and WHY anyone drinks tomato juice on planes?? Still, he did use SeatID–they must have something in common. Heâ€™ll save the introduction for later when he runs out of content for his posts.
Imagine thatÂ now, today,Â both look back and still wonder what happened. They remember the startâ€”the EyjafjallajokullÂ volcano waking up, their flight being grounded in Greenland, the nervous stewardesses plying them with drinks, and more, and more. The introductions, the argument, and then the gradual, dizzy belief that their two opinions needed to be reconciled. Had to be, in fact. What if this was the end of world? Reconciliation–for humanity, for the future. So they set about writing the op-ed of op-eds, tapping out the characters on Jamesâ€™s phone. Finally an op-ed truly for everyone. The Dobrzynski/Durston piece appeared on a brand new WordPress site, shocking the likes of Robert Connolly, Dana Allen-Griel, Dennis Kois, Ed Rodley, and all the other voices of studied moderation stuck further back in economy, sipping orange juice, thoughtfully biding their time. As Judith and James know, sometimes the world needs action. We should thank them for reminding us of that. Below is the full transcript of the Dobrzynski-Durston article.
The Greatest Proposal for hi-fiving high culture
The current institutional climate is unsustainable. And no fun. Most museums are in grave financial straits, mostly because there are better things to spend money on. Itâ€™s time for institutions to become the friendly, self-supporting, no-gift-shop entities they always should have been. The following is a list of proposals we urgently urge to be effected.
1. Weâ€™ve heard about museums, especially smaller, local ones, creating wonderful exhibitions on tight budgets. Maybe so. Those people sitting back in economy can really chew your ear off with examples. We both enjoy periodic visits to the provinces, and writing about them too, Â but letâ€™s be honestâ€”it needs to start in New York or Hong Kong. Trickle-down culture is real.
2. Institutions claim to generate 7 public dollars for every $1 invested. (Right. Whereâ€™d they get those numbers?) The people of Detroit did vote to raise their own taxes to support the DIAâ€”itâ€™s called millage, Jamesâ€”but thatâ€™s an exceptional case. Ann Arbor residents were forward-thinking enough to reject a new art tax. Bleeding heart art lovers need to be realistic: public funding = not the answer. Private funding = yes.
3. Museums do need to sell off workâ€”thatâ€™s called deaccessioning (thanks, Judy). Some call up the auction houses and rush the work out the door on a stretcher. Others are models of ethical responsibility–the Indianapolis Museum of Art, for example, lists all the work being sold on its site along with reasons for each sale. Thatâ€™s good, but not good enough. They should show their reasons, not just tell us about them. Imagine if the DIA did something like: [pic of Diego Rivera mural] = [pic of 25 million open lunchboxes with PB&J, apple, milk]. #Prioritize.
4. Old vases are boring (especially ones from Iran, imo). They should be sold to established patrons of the arts and other old rich people. Who else cares about/truly appreciates them anyway? Same goes for anything Â more than 30 years old or that doesnâ€™t inspire transcendence. If in doubt, just tweet us a pic.
5.Â In the spirit of compromise, museums should divide their days between different audiences. On Wednesdays through Saturdays they should distribute free popcorn and edamame, fill the gallery with animals from a local petting zoo, and encourage full interactionâ€”touching, smelling, lickingâ€”with the entire collection. On Sundays through Tuesdays, the cicerones will make sure that no more than four people are in any one room at the same time, monitor how fast individuals walk, andÂ confiscate any and all electronic devices. Individuals will be required to spend set minimum amounts of time contemplating each piece. If any individual fails to adhere to these measures, they will be required to write an essay explaining why.
6. Eliminate gift shops and cafes. They’re so bourgeois.
7.Â To generate revenue, offer paid chances to feed the animals and the option to limit the gallery to even less than the standard four people (on respective days, of course). Employ local actors who will alternate between impersonating art world authorities, historical figures, and general celebrities.
8. Reenact the creation and history of items throughout the week. It will be a little like Danteâ€™s Inferno, each actor trapped in a different area, telling his story over and over again (Judy’s description, my idea). For example, one of the actors can be Leonardo da Vinci: put the Mona Lisa on an easel in front of him and have him paint and tell the sad story of Lisa over and over to the general audience. Add drama when appropriate, regardless of accuracy. Reach out to Hollywood and book publishers, offering to add their narratives to the â€œofficialâ€ institutional version in exchange for sponsorship.
Â 9.Â Fully integrate work on display with life by created rentable, themed rooms, e.g. The Birth Room, The Death Room, etc. True art lovers will be able to pass with their eyes locked on an original Georgia Oâ€™Keeffe, or to bring a new being into the world under Van Goghâ€™s sunflowers, or to make love under the Venus de Milo. Anyone attending that day will be able to watch. Both sides will payâ€”
Phoneâ€™s about to die, got to post now. Whatever happens, this is the truth. Follow me online!
Imagine that that this is how the op-ed ends. The volcano went back to sleep and the sky over the Atlantic cleared. Fifteen hours later the Boeing landed at Heathrow, the passengers half drunk and half hung-over, but otherwise unscathed.Â There, Judith H. Dobrzynski and James DurstonÂ seem to have parted ways, never to collaborate again. Judy went back to lucid commentary on the art world, James to commissioning and writing popular travel articles.
If the phone had been fully charged, how would the Dobrzynski-Durston op-ed have proceeded? Â What unfortunate circumstance mightÂ the expert commentatorsÂ have leant themselves to next?Â Â Whether “real people” canÂ or can’t actually afford to collect art? Would we be more prepared to addressÂ how an elderly Romanian woman destroyed several masterpieces in an effort to protect her son?Â How much change to give beggars outside famous institutions? The alleged difficulty Chicago’s south siders have hadÂ in visiting Theaster Gates’s Dorchester Projects, even as the art star is lauded for the project’s success at Art Basel?
What further op-ed wisdom could we have learned from? We can only imagine.
James Pepper Kelly likes words, images, and the plants in his apartment. He writes for ArtSlant and Bad at Sports, and he serves as Managing Director of Filter Photo. He is currently studying to be a pataphysicist. For a little while, back in the early â€˜00s, he was really good at Ms. Pac-man.
This week: Part one of the Open Engagement conference 2013 series. Caroline Picard talks to Caire Doherty!
Claire Doherty is Director of Situations. Claire initiated Situations in 2003 following a ten-year period investigating new curatorial models beyond conventional exhibition-making at a range of art institutions including Ikon Gallery, Birmingham, Spike Island, Bristol and FACT (Foundation of Art and Creative Technology), Liverpool. Claire has worked with a diversity of artists including Lara Almarcegui, Uta Barth, Brian Catling, Phil Collins, Nathan Coley, Lara Favaretto, Ellen Gallagher, Joseph Grigely, Jeppe Hein, Susan Hiller, Mariele Neudecker, Cornelia Parker, Roman Ondak, Joao Penalva and Ivan and Heather Morison. She has advised a range of organisations as curatorial consultant including Tate, Site Gallery Sheffield and is author of the public art strategies for the University of Bristol and Bjorvika, Oslo Harbour.
In 2009, Claire was awarded a prestigiousÂ Paul Hamlyn Breakthrough AwardÂ as an outstanding cultural entrepreneur. Claire directedÂ One Day SculptureÂ in 2008-9 with David Cross, a year-long collaborative series of 20 commissioned, 24-hour public artworks across New Zealand. In 2010, she was Co-Curatorial Director ofÂ Wonders of WestonÂ for Weston-super-Mare.
Doherty lectures and publishes internationally. She is editor ofÂ Contemporary Art: From Studio to SituationÂ (Black Dog Publishing, 2004);Â Documents of Contemporary Art: SituationÂ (Whitechapel/MIT Press, 2009) and co-editor with David Cross ofÂ One Day SculptureÂ (Kerber, 2009), with Paul Oâ€™Neill,Â Locating the Producers: Durational Approaches to Public ArtÂ (Valiz, 2011) and with Gerrie van Noord,Â Heather and Ivan Morison:Â Falling into PlaceÂ (Book Works, 2009). She was also an external advisory member of the Olympic Park Public Realm Advisory Committee and a Fellow of the RSA.
Guest Post by Paul King
The sole page of Proteusâ€™ help screen begins â€œMove with WASD. Look around with the mouse.â€
No other controls exist, besides the space bar. Instead of offering a traditional jump, it commands the playerâ€™s avatar to sit, peacefully, for as long as they might. The help screenâ€™s final instructions begin with what seems like half of a warning: â€œEach island is unique, but familiar.â€
To move past the title screen and into the game, you begin by clicking the silhouette of a distant island. After fading, the screen opens from a murky black into a gently disappearing elliptical shape, as though you were slowly opening your eyelids. You’ve awoken in what appears to be an endless ocean, a muted sea-green punctuated by the gentle lapping of white reflections. In the distance, you begin to make out the outline of a shrouded landmass. As you trudge towards it, the only anchor in the gameâ€™s ceaseless sea, you can practically feel the sunlight of the raincoat-yellow orb shining in the sky.
Everything in Proteus is rendered in a blocky, colorful style that should be familiar to everyone whoâ€™s ever seen an early pixelated video game. (Think the â€œballâ€ of pong, or the sharp edges of Mario.) But the style isn’t due to a lack of processing power or graphical method; instead, the worldâ€™s lack of texture translates into a picturesque canvas of flat colors, almost as though you were gazing directly into a visual interpretation of one of Brian Enoâ€™s ambient tracks.
As you climb onto the shores of your island and walk past the flat browns of tree trunks and across the rolling green hills dotted with single-color flowers and blocks representing dandelions, an ambient soundtrack erupts. These are the changing environs and characters, and your interactions with them feel as though they were entirely up to you.
When somebody completes any video game, they tend to have finished a universal experience. Though the person playing it might have preferred a different gun, or tactic, or motorcycle, their journey is usually one shared by all other players. Certain blockbuster titles, usually role-playing games, offer choice and varied game paths as a selling point. There, you might choose to be a thieving elf that sneaks through danger, or a devil-may-care warrior slaying all in your path. Ultimately, however, the same challenges are present.
Proteus doesn’t exactly offer a challenge. There are no tests of dexterity or hand-eye coordination; there is only your movement through and consideration of the world, your journey. Pass by a stone obelisk and hear a great deep bass noise burst and fade slowly into a background of crickets. Chase a frog and hear its hops become the staccato twang of a distant guitar, or reach a mountainous peak above a plateau of raining clouds and listen to an uplifting crescendo.
Some sound origins are obvious. The crickets cricket, and leaves fall like soft glass. Still, there are other tones Iâ€™m uncertain about. Perhaps it was my position on a specific hill, or maybe it was the shadow of a pink-tufted tree.Â Proteusâ€™ soundtrackâ€”a constant soothing orchestration of hidden instrumentsâ€”is only one of the complex machinations behind deceitfully simple visuals.
Each island in Proteus is procedurally generated. Algorithmically, one comes together in a way that is unique, but familiar, placed together by a machine, or equation.
At a certain point, the boxy sun sets and is replaced by the moon. Night arrives, marked by a deep blue and a subdued soundtrack. Slowly, the bright dots of the islandâ€™s airspaceâ€”be they fireflies, wisps, spots of cottonâ€”swirl and gather, until finally, they culminate in a furious whirlwind at the center of a circle of stones. As you approach it, time speeds up. Clouds and stars race above you, the trees around you begin to shudder and dance. The music, now faster, eggs them on. Enter the circle and soon, the screen fades to white, almost as if signaling an end to your time on the island, a quiet release from the frenzied energy. But then island returns, rewarding a patient moment of darkness in the same way a morning welcomes those just stirring from sleep.
The colors have changed slightly, and the music with it. In the air before you dances a swarm of bees. Above you the calm sphere of the sun now has flaring tendrils, shining down harder than before. Vibrant collections of flowers have sprouted up since you walked into the mystical circle of stones and its swirling puffs.
Usually when a game environment transforms, dangers arrive. Night might reveal prowling tigers, shambling zombies, or some spooky other. Proteus remains peaceful, instead signaling the end of its day and condensed season with frenetic motion. Though you act as a catalyst in the seasonal change by entering that swirling circle, you canâ€™t help but feel a small component of a greater cycle;Â a piece in an action that comes from a living, breathing land mass. The whole island, player included, enters a chrysalis and emerges anew.
Often, a gameâ€™s digital world exists solely as a static landscape with one-sided interaction. Usually, it is up to us as individual players to act as the experimental component or the dynamic instrument. But though we, as individuals in a programmed world, might be dynamic, we all fulfill the same role. We are the same cog that fits into a developerâ€™s machine, makes it turn linearly through its universal paces. This tends to result in an identical experience for all who play the same game.
There are pieces of Proteus that hint at an identical experience. You awake in an ocean; you climb ashore a distant island; you swirl through the seasons. But since each island is procedurally generated, no two islands or games will ever truly be the same.
At a certain point during my night in Proteus, a white owl appeared in a tree, staring at me before taking off and flying to the next tree; later, I walked towards the crude ruins of a tower to find myself teleported to another crumbling monument.
I learned later that others retelling their experiences on the gameâ€™s forums had not encountered the owl. Instead, one account was dominated by a dark figure that appeared after the night sky had turned red, only to run off, while making sure the player was following. Some played with constellations; some sat in solemn graveyards. While we had all played Proteus, it became clear that we did not share the same experiences; we all wandered through different worlds, encountering familiar aspects in a unique way.
The main difference between unique play in Proteus and role-playing games is agency. In a massive fantasy or space world, the player is given what appears to be wide path to play how they wish. They move through a static world and sculpt it in a pre-designed fashion. Ultimately, the developers of these games give players the gift of agency, the ability to move through that world and shape it.
This also forces the game to be reliant upon the player. Even if a gameâ€™s narrative is linear, it depends on the player to advance it. For example, a programmed character within a game may walk a programmed path, forever, until a player enters and engages its route. By interacting with that non-player character (NPC), the player has helped it fulfill its destiny, and furthered the action of the world. The expectation is that the world exists at the behest of the player, and the player is often imbued with the power of a god who may alter the world.
While Proteus as a gameâ€”and productâ€” exists for the player, its world isnâ€™t reliant upon a specific player experience. Because it isn’t static, differences occur, many and obviously, around the player. Because the world is produced dynamically, the player must act as a static element with practically no control. And though each player may in turn approach the game in an identical capacity, once the island is generated, it is a fresh, dynamic world each time, reducing the potential for a homogenized experience.
The largest contributor to this success is the way in which Proteus plays with music. The endless cacophony (both aural and visual) that permeates the atmosphere is so incredibly active. As a player explores, animals or flowers donâ€™t change course like an NPC. Instead, they react naturally, not as though they were born for your experience, but almost as if the opposite were true. When you approach an area that produces a sine waveâ€”be it a tree, a slope, or some other mysteryâ€”the feeling isn’t that Proteus or the object in Proteus has begun to play for you, but that the sound, or owl, or structure was always there, and you just happened, through a chance generation, to wander into it. Starting a game of Proteus is not like listening to a pre-recorded album, but like listening to the chaotic throng of generative music. And though you might begin and stop Proteus at will, thereâ€™s no guarantee that the islandâ€™s music will follow.
Paul King is a poet, writer, and video game enthusiast currently living in Chicago, IL. He grew up in Austin, TX and graduated from Bard College with a BA in Liberal and Written Arts.