So let’s consider “bad tech-art.” What does it look like? Well, it is, commonly, some poorly-designed, haywire, deeply private, almost chaotic device and/or installation — accompanied by a long, vague exegesis about its huge significance. This artwork barely functions, communicates badly to people, is opaque to interpretation, breaks down frequently, and is generally accompanied by a tortured justification direct from the artist himself.
That is the melancholy spectacle of an art-hacker isolated by his hardware. He has never been able to mentally place his artwork within a context of similar creative activity. He or she is a one-person artistic Long-Tail.
His artwork has failed to get social traction, because, although it’s plenty weird, this creative is poorly-socialized. He’s a pioneer, not a native. He’s a Robinson Crusoe in goatskins, and despite the fact that his IQ is high enough to boil lead, he’s easily classifiable as a weirdly ingenious derelict marooned on some tiny island.
That island that consist of his hard-won private expertise in, for instance, building drawing-machines out of British ex-military gunsights. This hacker-artist-crackpot-inventor is hung-up on the bit-twiddling hack minutiae — most of which he had to invent, all by himself, in a splendid isolation.”