Week One Responce (Kidnapping Privacy)
In the precedent section of Installation Art in the New Millennium, the delegation of a Reality-TV performance by Blast Theory entitled "Kidnap" drew me into thought. For the utilization of this medium, the two winners of abduction were taken to an undisclosed location and their captivity was broadcasted over the internet. The access of this performance installation was experienced wherever a computer might be; whether it be a bedroom, a library, an office, or a desk at school. Instantaneously through broadcast, the audience became generators for a mediated cultural experience in the new-found telematic forms of art installation.
This performance installation also appropriated the glorification of media broadcasting to turn something as publicly detrimental as kidnapping into a fame-based experience for the kidnapped "winner." This seems as a mock for to sociality of modern media. The framework of utilizing the internet and a broadcast of something like kidnapping for entertainment ploys mass media in it's obsession with publification of personal affairs. Perhaps the usage of telematic resources in context with a kidnap reality-TV experience play into one another as an artist statement forecasting the future of telematic resources and loss of privacy. They were proposing the growth of individuals and groups to communalize over the web-casts and television their formerly personal lives.
QUESTIONS:
Can the audience and performer be activated in comparison to each other telematicly in ways unaccomplishable through gallery-based mediation? What telematic mediums can be compositely utilized to activate and control an installation?
