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They spent many hours as a voyeur on Cam4 and observed how people interacted with performers and playing into the idea of productivity.Originally conceived as part of a larger series of actions they were planning, Moletress performed a workshop of “Trigger Warnings and Various Attempts” at Highways Performance Space in Santa Monica, CA.They fancy these people as the “hidden performer” with whom they respond in real time. “The other aspect of this is ‘The Crucible.’” Did I mention Moletress reads Arthur Miller’s “The Crucible” as many times as they can over the course of 20 hours?They’ll gauge how their body responds to the reading, as they monitor the chat room.John Moletress isn’t a sex worker, but they play one on T. A live audience watches the performance, while also viewing a big screen monitor of the webcam performance.The gallery audience can login to Cam4 and participate in the live chat with other viewers from around the world.It’s a big title, and when asked about what she does, Stuckey says she thinks about technology and how it interacts with consciousness.Basically, she’s a curator of interactive digital and virtual reality (VR). When Stuckey was away on a residency with a VR project she’d created, she realized the gallery had to have reservations to organize audience flow.

Now entering its fourth year, Free Range Art roams again this week in Texas, and in addition to gallery works, multi-disciplinary performances, and concerts, Fusebox continues its tradition of tapping a dizzying array of digital, interactive, virtual reality, immersive, and play-based artists from Austin and around the world. “Trigger Warnings and Various Attempts” is a 20-hour gallery installation in which Moletress performs inside an amateur sex cam chat room, Cam4, which allows users from around the world to interact with Moletress in real time.From there, it was like, ‘What if we made an entire restaurant?’ Kind of playing on the concept, for most people VR is such a novelty because they haven’t experienced it before.If all this wasn’t enough, Moletress will also simulcast the performance to the gallery at Chisenhale Dance Space in London, where they are a member artist.This is Moletress’ first foray into online cam performance.It’s a new, kind of out there thing, and programming work for VR that’s been more serious and politically engaging critical work, there’s such a clash between the person who’s ready for an entertaining novelty experience and the content of the work.” They baked it all into a greasy spoon diner model complete with sassy, rude high school wait staff.If a VR headset or computer malfunction, they’re “out of it” on the menu.“Customers” will be able to choose off the menu based on their “tastes,” and the wait staff will guide the audience to have a tailored experience. “‘Appetizers’ are net art, and they’re either meant to be seen on a monitor that’s mounted next to the diner table or on a tablet, which we’ll be serving in a hamburger basket. And the VR works are the ‘entrees.’ The desserts are more interactive works, so we have a few things that include augmented reality and some 3-D prints and different things that involve physical interaction.Those are typically meant to be shared between two people. Just trying to think about what could serve as a ‘treat’ after a ‘meal’ when you’ve just been watching VR.” “Spam’s the Internet: The Restaurant” grew out of MOHA’s technology initiative, IRL.MOHA has an artist in residence program, and a budding salon series to have discussions around new technology and art.“With IRL,” says Stuckey, “I think the goal is to introduce people to another way of looking at these emerging media technologies, which I think the general person sees as a commercial consumer product.

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