Whatever happened to flaky whatever guide to those local god awful art openings you used to have on the old Pre-Post dks.thing.net? The DKS List I think it was called? Gone the way of the buggy whip I suppose? I guess it was a little too pedestrian with its populism to warrant the privilege real art bestows. So screw that, who important looks at art any more anyways? This art talk radio Don Imus stuff is so much more piquant in its situationalist detourment its almost radical-like theory. (Not)

The following is documentation of my most recent work, entitled Suicide Walks.

Confusing the Locative Medium
As with any emerging new media art form, countless definitions and delineations are conjured from individuals who deem themselves avid practitioners, and the art community engages itself in a civil war of research papers until a single idiom is accepted by a majority. There is a grave need for a new method, a new form of scientific representation of defining new media of this sort. Unfortunately, I do not possess the necessary method, so I, too, fall in line to wage war on deciphering the very nature of what is known as Locative Media.

Gordon Matta-Clark came up with the word "nonuments" to describe his "detournement" position vis-a-vis the monument. This is a point of tension between formalizing the emotion of in-situ demarquation and the actuality of being.

You talk about that uncomfortable tension in terms of documentation. Referring back to Baudrillard isn't all media "performed" nowadays?

I know that I can't do straight video performance art without acknowledging the media-sphere and the segmentation/sampling/repetition of post production.

Back to Baudrillard; He posits that because of digital media that all media can now be performed. The performance is extended beyond the lens to the editing suite.

What is the digital self? What is the mediated self?

To Christina:
Question:

Do you use the word pornography the same way Baudrillard uses it to mean, "..of harassing images themselves or making them suffer by exhausting their effects, even making the script they dreamed of(one hopes) into a sarcastic parody, a pornography of images." -

from Jean Baudrillard, The Conspiracy of Art pg. 112

“Disaster images become pornography almost by default, anyway there’s no “honest” way to approach the place of trauma without being implicated in it somehow. This feeling of being implicated in the disaster and its’ aftermath has to do with the appearance of the diagram. The strange thing is that the diagram rears its’ strange head in a field it’s not supposed to be in, the predictable graphic software space. In an awareness that is already assuming (consuming) everything as an apparition or phantom effect; the pictorial sensational catastrophe is overridden, overwritten by something else, or something less.” –