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This raises a fundamental question about the role of Art in society. If I want to see all the content in this film I will have to watch it the rest of my life. This is great if I'm making money off of the content but terrible if I'm just curious about Brian Eno and want to see a well assembled, curated interview with him. Producing content with an AI that will re-edit the film on each watch makes post production easy for creators but leaves the task of editing on the viewer, like ringing up your groceries at the market. So why then does content exist? Is it to entertain viewers, to attract eyeballs to ads or as an outlet to creatives? I'd argue it should be a balance of the first and last (ads are a necessary evil today, but creative texts were not invented to provide context for advertising). Work that is fan service often doesn't provide the outlet desired by the creative and work that challenges the creative often bores the audience. This seems like it falls in the second category. No disrespect to Brian Eno.

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Timwi 8 days ago | parent [-]

> Producing content with an AI that will re-edit the film on each watch

They made it clear that it's not AI. They could have been clearer on what it is instead, but the impression I got is that it's procedural generation with a good old PRNG.

	▲	the-rc 8 days ago \| parent [-]
		Over the months, I watched it three times in person at NYC Film Forum, then another couple of times during the 24h January stream. It's not AI and it's not just random clips, either. The opening and the ending are always the same. Some parts like the segment on Oblique Strategies and how they shaped the recording of Bowie's Moss Garden were played (almost?) every time. The bit showing the evolution of U2's Pride from a yodeling demo to the finished song played half of the times. Same with the one about his Windows 95 start sound. I think the latter screenings had more examples of generative pixel/glitch art (each of which, presumably, was unique). My feeling was that segments were divided into categories and/or tags; their selection was like a chef's menu at a restaurant, where you don't know what you'll get, but you can expect that some kind of desserts are always at the end. Also, I don't think it's exactly true that each performance is different. Between segments, there's some computer output scrolling by and it includes a filename of the next clip. At the start of the movie, the (fake?) filename includes the venue and the date. I didn't stick around for two consecutive shows, but I think they're identical through the day. The 24h streams were different, of course.