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If they have a Gear VR at home, they’re used to seeing these sleek, commercially produced games.

I want to break down that gap that says that this is technology that large corporations are in control of by showing that artists are also able to use it their ways to make content for these new technologies affordably and that they are accessible to artists.

“I was starting to think about how these hierarchies of productivity and power were working in art making and using theater as a reference point,” Moletress says, “and then thinking about ‘Where does the autonomy of art making and the body exist within that structure? Performed repeatedly from regional to community to university theaters, Moletress calls it a “beaten text.” They wanted to explore the concept of who really owns their work in the production. “So I was thinking about that in terms of sex work,” says Moletress, “and thinking how sex work has had this path from being a sort of street, locational type of labor, and then that sort of going away and sex work moving into these online platforms that are facilitated by websites and chat rooms. Because sex work usually was thought about being managed by a pimp as moved into this entrepreneurship, whereby sex work is very individual, so people manage themselves and their clientele and how they do their labor and make money via their own profiles and websites without all that other ‘manager’ if you will.” People tune in by tuning into Cam4. Search for “awildthing,” and that will direct audiences to the performance.

“People were making some really great handles in our live audience,” says Moletress, “like ‘Abigail’s Liver’ like ‘Danforths’ Dirty Fingers.’ I couldn’t help but crack up.

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.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.There’s a great bit of cheekiness to it, too, which is fantastic.” If you want to get in on the action and can’t drop by live at Fusebox, get your handle and login to Cam4.SPECULATING THE FUTURE IN A GREASY SPOON Rachel Stuckey is the Director of Speculative Futures at the Museum of Human Achievement (MOHA) in Austin, TX.

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“So I’ve had some really wild things that were said during the performances at Highways, and it was interesting how the people that were in the space were also typing in on their electronic devices, and then interacting with people who were not in the room.

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