In pop culture, “ghosting” is:
n. the appearance of one or more false images on a television screen.
v. when players that have been killed in a video game watch other players.
As viewers look through the gas mask, a video self-portrait is super-imposed onto the action figures via the pepper’s ghost theatrical illusion.-- DESCRIPTION FROM ARTIST STATEMENT
CAPTCHA-related humor began with the widespread use of CAPTCHA (and more recently reCAPTCHA) on popular blogging and forum sites. The technology is intended to stop spam by asking the user to verify a pair of distorted words, thereby proving they are not a bot. In the case of reCAPTCHA these words are pulled somewhat randomly from an archive of textual documents requiring digitization, and that random pairing of words often produces strange and comical combinations.
Whoop Dee Doo is a kid's show, run by about 20-30 volunteers in Kansas City. The show is filmed in the style of public access television shows of the 70s, 80s, and 90s, drawing heavy inspiration from the likes of The Carol Burnett Show, The Gong Show, Pee Wee's Playhouse, You Can't Do That on Television, Mr. Wizard, Soul Train, Double Dare, public access horror show hosts like Svengoolie, and the Chicago public access program Chica-go-go. The group has put together shows around the country and internationally, from the Smart Museum in Chicago, to a holiday party at Deitch Projects, and a collaboration with Loyal Gallery in Malmo, Sweden. In each new venue they draw on local communities of performers and artists to collaborate and contribute. Performers range from musical acts and performance artists to Civil War Re-enactors, Celtic Bagpipers, Christian Mimes, drag queens, drill teams and science teachers. Kids help build the sets and make props along with artists and volunteers, and they are a huge part of the show itself. Whoop Dee Doo is intended to showcase the diversity of artistic talent within the community, and to create an opportunity for these groups to work, and party, together. Unlike many kid's shows, Whoop Dee Doo is in no way dumbed down or infantilizing, and it forms an important part of the vibrant and creative Kansas City arts community.
The show is hosted by artists Matt Roche and Jaimie Warren. Matt plays a quiet, awkward werewolf, and Jaimie is generally wearing red spandex and covered in empty food packaging. I spoke with Jaimie about the art scene in Kansas City, about working with kids and technology, and about the philosophy of Whoop Dee Doo.
Zach Blas is an artist and writer working at the intersections of networked media, queerness, and politics. His work includes video, sculpture, installation, and design, among other things. He is also a PhD Student in the Program in Literature at Duke University, and writes extensively on the question of art, activism, and sexuality. Zach and I discussed the question of a queer technology and just what queer theory might contribute to the fields of art and technology.
I am very concerned with problematizing the class and gender dynamics of this history in particular, especially since I am using the term "queer" here in a slippery way, applying it to a group of men who may better fit its historically pejorative definition more than its contemporary transgressive one. I'd love to chat more online and in person. I'll contact you through twitter and perhaps we can get a coffee.
Honestly I just found it more interesting to talk about what the show might mean instead of whether or not it was good. People are going to see the show regardless, and I'd rather they read a piece that puts the show in a context they hadn't thought of then go in with the idea that the show is good or bad because they read it on a website. Is it the responsibility of a site like Rhizome to publish reviews that take a clear stance on the quality or validity of shows such as this? Maybe. But honestly I find that kind of work dull, particularly when it devolves into snark and shade that does more to boost the ego of the reviewer than it does to inform its readers. In fact I would argue that it is precisely those kinds of reviews that are uncritical, or at least, critically shallow.
Part of the reason I reviewed the show as I did is that I was not particularly interested in the pieces as artworks - and how they might fit into a longer art historical tradition - but more what they might be saying about art, technology, and culture. Whether or not the pieces are good is entirely beside the point for me. And, not to contradict Brian, but what the artist's intentions were when creating that piece, or whether or not he did it for the reasons I gave in my review, is also not personally of interest. And while I said in the first paragraph of my review that even though the show was "about" failure the show itself was not a failure, that does not mean that many of the pieces were not critical or intellectual failures, particularly in their failure to provoke any consideration from the viewer beyond "I see what you did there."
But when I went to the show having to actually consider the pieces beyond their immediate punchline and forced myself away from the kind of knee-jerk eat-our-own criticism that is so easy with so much of this kind of work - and so prevalent in this community - I found something that I thought was worth writing about, and that (hopefully) wasn't the same kind of critique that everyone has given Cory for years. For me the review wasn't about if the show was good or bad, it was about what it meant both for the new media art community and within the broader context of art, technology, and culture.
So while this may be a question of defaults it doesn't seem to be reflecting on technologically specific defaults, just culturally specific defaults and readily available forms.