Let's see. If you compare what's happening now with the video art ethic in the 70s, which was kind of a beneficiary of the 60s, kind of very populist approach, we currently of have a winner take all economy, whereby if a record company is going to distribute you know, a soprano singing so and so's arias, then why would they want to record any but the very best soprano. You know?

      Cause it costs just as much to distribute the second best as the best. So they're just going to distribute the best, and that's it.

So media products as well as all other products tend to be kind of one dimensional, where the winner is it, and everyone has to have that. And there's frequently not a lot of diversity of media titles that get any support at all.

      The commercial transmedia super system in the words of Marsha Kinder , whose book "Playing With Power" talks about kids and video games and TV, she talks about the commercial transmedia super system where -- another term for it is cross marketing, where you can't just have a video game that's a good video game. It also has to be a good movie and good pajamas and a good lunch box and a good binder and a good pin and a good pen. And because our mode of participating in the culture is by consuming,. Why would you wan to get a no name lunch box? That was just like an original lunch box. An innovative new style lunch box.

      You want to participate in the culture, so you're gonna get you know, the Mortal Kombat lunch box, because that's a bigger phenomenon.


      There are two currently diverging markets for art. And I use the term art loosely to include fine art and also artfully created media material.

        The beast and the brain.

      The beast side of it has obvious connections to a western tradition, the western tradition of impact oriented art such as Delacroix. You know, you go to the Louvre and you look at the paintings and they're 70 millimeter. They were making movies.

      And the brain. Digital art cannot be understood by just looking at it. It has to be interactive which was what I was saying ten years ago. And so there is this cognitive direction. Look at art works.

Look at art works on the web. They're basically conceptual and cognitive.

      They're not about spectacle. Now, this is a VR application. And VR, instead of achieving all of the amazing and hallucinatory wonders which were predicted a few years ago, is out there doing good, hard work in every day situations.

      And this is not quite an every day situation. So interactive art has to have this cognitive dimension. Either you're going to be a maker or you have to be dealing with an interactive art work. The interactive stuff also connects with military and commercial flight simulators.

      This is VR again.

      Meanwhile, on the beast side,

        we're moving through patrons enhancing religious art of the renaissance, baroque art aimed at seducing believers back to the church. A long tradition of European soft porn art for the wealthy.

      It all comes down to these 17 70 millimeter paintings in the Louvre. Opera is about spectacle. We go to Cecil B. DeMille technicolor cinerama. Imax, OmniMax films where your peripheral vision is employed, which is where most of your motion sensor stuff is. And then we come to ride films, which is a favorite topic of mine. These kind of are part way in between the R as we typically know it, and this kind of spectacle oriented art and media.