What is the materialism of the void, if the void is immaterial ? 

This work is not a message-based work. It does not make a statement as such, No War, or The Ecology of the World is in Danger, or how certain Human Behavior is Un-Ethical... The purpose is to share / present / Create a visual and sensory experience. Its key function is to investigate materiality and processes and to re consider how these processes can be used in the production of art. Is philosophical writing essentially self-referential, and deconstructive?

If philosophers write journalism is it still philosophy? The philosophical question remains what is it to think? 

Is the purpose of thinking Social critique etc ???

Considering the real and the everyday after Museums. There is no better subject of reference to which an expression of truth can be observed. The everyday, the overlooked the repetitive usual / unusual. The Human in the frame of the site and or situation in actuality of their natural mode of being even in an exceptionally rare moment of heightened experience returns the viewer to a sense of familiar reality through which empathy, understanding and relativity can be cognitively realized. 

Despite its many social characteristics, digital art also offers many insightful innovations and is valuable in itself as artistic content. Concerning this massive dissemination of amateur art, Lev Manovich asks the question, “can professional art survive the extreme democratization of media production and access?” To this he answers a definite yes, suggesting “never has modern art been so commercially successful. No longer a pursuit for the few, contemporary art has become another form of mass culture.” But while contemporary art may not be threatened economically, in terms of its insights and conceptualizations, professional artists may have a lot to reckon with. The nature of the digital-online media is also one of constant change and mutability, and the speed of exchange, absorption, reflection, and response to such artwork is something completely new. Manovich concludes, “the true challenge posed to art by social media may not be all the excellent cultural work produced by students and nonprofessionals, although I do think this is also important. The real challenge may lie in the dynamics of web 2.0 culture—its constant innovation, its energy, and its unpredictability.

I am here trying to express a fragmentation of different truths as to the pursuit of a truly antagonistic post-modernism. Lyotard states "the Post-Modern is the disbelief in grand narratives". So as painter, maker, skater, photographer, producer, viewer, we are in resistance to an oppressive narrative, which pressures us to conform to its capitalization of knowledge, culture and politics. The only way to negate the dominance of the oppressive model is to represent difference, diversity and alternate narratives...