“THERE’S SOME KIND OF a haunting here that I’m picking up,” warns Mindy, a late-night psychic on a fake public-access television show in Phil Collins’s latest film, Tomorrow Is Always Too Long, 2014. “Does it make sense to ask yourself: Who have I become? . . . When did touch turn from a skin-to-skin contact into the glow of a missed FaceTime call?” Collins’s restaging of public-access spots is one of a number of artists’ sympathetic explorations of television within artistic work over the past fifteen years. TV has emerged as a subject of not only formal but also social and what might be called “infrastructural” investigation: Artists are considering facets ranging from TV’s relation to live audiences and the sitcom genres and program formats it has generated to more arcane subject matter, including the ways in which archival footage is classified and the use of live musicians
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