So the recordings were these immersive landscapes, and yet, unlike the performances that almost no one would see, I had a sense that these could live forever. I was just starting to get my head around the democratic aspect of art; I didn't want to make rarefied things that were either alienatingly obscure or elite and art-worldy, so a recording that anyone could buy was a great medium.
Miranda JulyYou've got the people you know, which are problematic. Always. They're rich but they're also real people living their lives alongside you. Then you've got the people that you make-up completely, who are often missing a dimension if they don't have some reference to real people. So strangers exist in this in-between space, where in not knowing them, you are creating a fiction for them, even in passing, but at the same time, there they are, with their actual bodies and their actual clothes. It's totally enticing.
Miranda JulyWe really wanted to know all the unknowable things about each other and how we were the same and how we were different, if we even were, maybe nobody is.
Miranda JulyIt was a real whale, a photograph of a real whale. I looked into its tiny wise eye and wondered where that eye was now. Was it alive and swimming, or had it died long ago, or was it dying now, right this second? When a whale dies, it falls down through the ocean slowly, over the course of a day. All the other fish see it fall, like a giant statue, like a building, but slowly, slowly.
Miranda JulyCollections are certainly abundant online. It's complicated, because it's not like these people didn't want computers, although there was some nonchalance about it. I would sometimes ask the people I interviewed if they wished they had a computer, and in a lot of cases, it was like they couldn't process the question. You don't know what you don't have, I guess.
Miranda July