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IF YOU SEE SOMETHING, SAY SOMETHING, goes the MTA (NY public transport authority) imperative. A simple directive with a simple grammar that separates three simple steps in recognition and response.
First you there is the visual perception. The photons carrying visual information enter your eye and in the retina get converted to neuron signals which pass into your brain. A package in brown paper is given as an example. Second,  the silently presupposed step: you line up the perception in your brain against cognitive patterns, a grid of memories, experiences and possible scenarios. The one you are expected to employ in this context is the one of fear of unexpected terrorist attrocity. Third, you are instructed to take action by forming apropriate language descrition of your perception and bundle it together with your suspicions and hand it over to a person with a mandate to deal with the problem. Language is the recommended tool here for grasping the reality, a supposedly safe tool to handle potentially expolsive reality. There are experts for safe handling the physical reality, who should take appropriate actions.
Taking things out of context has been one of the most favorite strategies of visual artists. Once a thing is taken out of its original context it starts to gravitate towards multitude of meanings. It becomes a loose object that one can align against a whole number of grids within one’s own experience. My favorite language for handling found objects is video. Fragments of reality are taken and tested for their potential to enter various contexts. This is where the subject enters: the word video comes from Latin and literally translates as “I see”. What we can draw out of that definition is that video is a very personal perception. There is the “I” – the subject. My strategy in working with video is comparable to Barthes’ search for “punctum” in photography. I select things that for me seem to have that “punctum”, a point of triggering a thought process, a process of aligning the perception to multiple cognitive grids.
The activitiy of associating is an important ingredient in games for its potetntial to undermine rigid meanings of things, objects, words, thoughts. It is a playful and cheerful destruction with a potential to rejuvenate our view of the world around us. I offer several moving images for your scrutiny found in the world that for you is the daily life. Is there a trigger? Is there anything explosive in there? Is there a potential for some free associations? Let me propose another scenario, possibly a more positive one: IF YOU SEE SOMETHING, SAY ANYTHING.

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