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.)

Gregory Crewdson on ABC's 'Art Nation', 26 June 2011, 17:30

Prudence Fllint on ABC's 'Art Nation', 26 June 2011, 17:30

Mark Featherstone, 'Virilio's Apocalypticism'

Featherstone, Mark 2010, 'Virilio's Apocalypticism', in Kroker, Arthur & Marilouise (eds), Theory Beyond the Codes, http://www.ctheory.net/articles.aspx?id=662, viewed 20 May 2011. 

"In the hyper-capitalist world, if we choose to adopt Kroker's name for the new form of high speed, high tech, totally virtual capitalism, there is no telos, there is no apocalyptic end, no fatal moment of collapse, since, as Wilson [69] points out, death is distributed across the system."  

• Nietzsche and humanity's tragic nature

Featherstone writes, Virilio's:

"...problematic resides in the hubristic forgetting of tragedy that has evolved through hyper-modernity and the need to rehabilitate the Ancient idea of humanity as a tragic creature of the limit that is made necessary and possible by the apocalyptic culture of post-modernism. This culture simultaneously and paradoxically marks the moment when we run into the limit of terrestrial time and space and forget about our earthbound limited nature. In this respect my focus is less on Virilio's conservatism or his desire to restrict humanity; rather I am interested in what I perceive to be his concern to maintain the experience of the limit in a global age where we simultaneously inhabit a state of global fullness and completion and precisely for that reason have no sense of that truth. It is this paradox, this conflation of the destructive potential of completed modernity and the total inability of humanity to understand this condition as a sign of the limitation and potential end of its own existence, primarily because of its location or immersion in a vortex of information that screens out critical thought and knowledge, that forms the basis of Virilio's apocalypse and necessitates the creation of institutions able to think through the end times in order to pull us back from the brink."

 "The central point about the end of this time-line is, of course, that the post-modern neo-liberal liberation of speed from all ideas of limitation, where ideas of limitation refer to either utopian ends or social speed limits such as trade regulations meant to govern the movement of capital, is evidence of the hubris and the forgetting of tragedy that Nietzsche, Heidegger, and Virilio all see as the core problematic of the modern society of nihilism, technology, and speed [64]. In each case I think it is possible to argue that Nietzsche and Heidegger, and now Virilio, recognise that the inability of humanity to appreciate the necessary phenomenological resistance of the world upon its movement and speed will produce catastrophic consequences in the form of the emergence of a last man bored by a technological world that he can no longer relate to and that completely prohibits his continued movement through space. This is, of course, the famous theory of inertia that Virilio [65] employs to show how the empire of speed has started to collapse into a society of immobility and stasis characterised by walls, borders, camps, and prisons that he generalises through the ideas of global foreclosure, incarceration, and lock down."

 "the American determination to conquer or overcome obstacles, to create smooth space suitable for the speed of movement for capital and human flows, in many respects reproduces Hobbes' capitalist metaphysics of legalised movement in real space. It is this innovation that transforms the phenomenological world of embodied experience into a metaphysical or virtual abstraction that humans, or perhaps we should say those post-humans plugged into the network society, experience through inter-face with technology. Virilio's [73] America, the land of Hobbesian materialist metaphysics realised, is for this reason comparable to Baudrillard's [74] Nietzschean land of fascinated banality. It exists as a land of deserts, a featureless landscape, a smooth Euclidean space, that has come to define post-modern globalisation as a catastrophic space awaiting the arrival of its apocalypse."

 "...Virilio's apocalypticism, the critical imaginary capable of translating the everyday catastrophe of modernity that has led our world to the point of infinite density into an apocalyptic sign that may enable us to overcome our technological thirst for annihilation and re-think our phenomenological being as bodies embedded in society and world."

Foucault, M 1981, ‘The order of discourse’, in R Young (ed.), Untying the text: a post-structuralist reader, Routledge & Kegan Paul, Boston, pp. 48–78. (CRO – CQU Library, HUMT20012 Code).

The discursive event...

• 'caesurae': a sense pause in verse; any break, pause or interruption
• 'This narrow gap...chance, the discontinuous and materiality at the very roots of thought.’
  

Autobiography and memoirs.

Against the Hegelian logos.

'The computational object, on the border between the idea and a physical object, offers new possibilities.' (Turkle, S & Papert, S, 'Epistemological Pluralism and the Revaluation of the Concrete', http://www.papert.org/articles/EpistemologicalPluralism.html, viewed 28 April 2011.)