Concerning Media Sensate

The dynamic hierarchies of objects is dictated by the embodied framing function performed by the viewer through their interactive narrative paradigm.
This narrative is to enshrine knowledge through media sensate dialogue. Their visual analog symbols form the graphic intentions of catagorization.
Catagorization is framed by interpretive thresholds which form the data spaces for storage and analysis of complex information.

There are meaningless works but not works without significance. Thought and emotion are intrinsically linked.. Together they form an information space of self-referentiality, which itself is accessible by adaptability. That is to say their value of significance are framed upon unstated aims derived from the external storage system which implicate definition. That definition derived from previous information spaces and relations to elements within the external storage system remains mutable.

Exhibition as motivation
Media Sensate as arranged evocations

The act of partaking in media sensate does not justify the object as an art in mimesis. If we hold that the ‘art of images’ is mimesis, as according to Stefan Beyst, then media sensate is utilized for a multitude of means. What is important is to delineate such divisions and the intentions of their creators. Without such divisions, the meaning of titles encompassing ‘Art’ fail to be confronted astutely. The intertwining modules of a media sensate synthesis demonstrate their functional complexities and must be addressed as such. Understanding of these forms in their proper constructual frame we can begin to address their social contextualization. In this light, the plight of so many ‘subgenre’ of an apathic Art context can be ridded of their ardor to be recognized within its ranks. The break down and division of a monolithic Art structure can only liberate media sensate and its participants from such myopic tendencies. Media sensate function throughout vast divisions of image, spatial and linguistic manifestations for their dialogue to be contextualized simply within an ‘Art’ discourse. A lure of self righteousness and shamanic genius from a Euro-Western Renaissance legacy, can no longer guide the media sensate ritual, but a treatise where a media sensate establishment is deciphered.

The exhaustion of possibilities
The end of an ‘Art’ media chapter

Catalogue of image signs
Transform the perception of the appearance of an object
Substitute Perceptions

Primeval gestures of mimesis, emergence of the visible

Mimetic gestures
Prosodic Relics

Virtualization
Re-enactment
Appropriation

The history of art is the glamour of craft