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In line with Barthes' notion of the performative "text" (in Barthes R, 1977, 'Death of the author', Image, Music, Text, Fontana, London, pp. 142-48, CQUniversity Course Resources Online (HUMT20012)), the "self" can also be thought in terms of a performance. He writes:
...there is no other time than that of the enunciation and every text is eternally written here and now. The fact is (or, it follows) that writing can no longer designate an operation of recording, notation, representation, ‘depiction’ (as the Classics would say); rather, it designates exactly what linguists, referring to Oxford philosophy, call a performative, a rare verbal form (exclusively given in the first person and in the present tense) in which the enunciation has no other content (contains no other proposition) than the act by which it is uttered [my bold]—something like the I declare of king or the I sing of very ancient poets. Having buried the Author, the modern scriptor can thus no longer believe, as according to the pathetic view of his predecessors, that this hand is too slow for his thought or passion and that consequently, making a law of necessity, he must emphasize this delay and indefinitely ‘polish’ his form. For him, on the contrary, the hand, cut off from any voice, borne by a pure gesture of inscription (and not of expression), traces a field without origin—or which, at least, has no other origin than language itself, language which ceaselessly calls into question all origins. (Barthes 1977, pp. 145–146)
Transmedia
The "consumer" becomes an 'active player’...
Stephen Dinehart speaks about ‘the power of Transmedia storytelling’ to transform '...once passive audiences into active real-world protagonists':
‘...media making heroes saving humanity from its isolated, godless, consumer self, by co-creating a culture of viewers who can become active protagonists in interactive worlds—both real and virtual—imbued with the classical ideals of love, responsibility; a place where being rather than seeming to be propels us, and indeed every man, to a better future.’Dinehart's notion of 'transmedia play' reminds me of Derrida's 'play of signification'.
Dinehart says, "...even in this room...I am already becoming artefact...".
"I" is artefact, then, a kind of "total artwork" in itself; where, "I" is an active spectator, as it were, according to Wagner's formulation of a spectator in his book 'The artwork of the future', referenced by Dinehart here. (Dinehart takes the notion of the "total artwork" from Packer, R & Jordan, K (eds) 2002, Multimedia: from Wagner to virtual reality, Norton, New York.)
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