Victor Burgin's writings still hold true today. the critic has more power than the artist, they can demolish a work as the artists professional standing is based around this relationship. There are special forces of judgment. The artist working within the romantic genre depends upon, creating as if by the force of his/her very nature, producing the naturalisation of the art and the naturalisation of the criticism: "in the 1980's, where there has never been a greater gap between those who practice theory and those who believed themselves innocent of theory. At the present time the most favoured way of securing the end of the theory is by denying that it ever began. Criticism and reviewing, as most commonly practiced, are the major form of this denial".9 there seems to be a separation between theory and criticism which is a relationship of power "Through the magic of the symbol, theory has now become generalised to the point that 'beautiful shapes and colours' can be claimed to 'express' anything whatsoever -'higher realities' more or less whatever the artist or critic chooses . What was truly critical in the old debates has today been lost from sight. What began as an emphasis on imagination - a creative faculty which seeks to transgress the given orders of representation - by degrees became a form of self-hypnosis in the service of the status quo."10 does the discourse not become the work, isn't theory a practice? there is a particular anxiety formed around always being deferred never catching up is a controlling mechanism in the constructing of discourse and discursive forms. as group we are very nomadic as a strategy , its participates in discourse and discursive forms nomadology works against creating gaps we work in both constructive modes 'constructing meaning and order as well producing gaps. there is a particular form of anxiety of never being deferred never catching up is a controlling mechanism in the constructing of discourse and discursive forms. we don't want to fall into an oppositional to the power because it gives them more power do you want to be reactive or pro active if we are only filtering what we see. are we being reactive or are we being reflective Perth is a vacuum becomes the source which is a mechanism which is inclusive and exclusive at the same time people become introspective here because there is fuck all to deal with there is a mirror at the darling scarp how do we make sense here lets be modernists lets define ourselves there's a gold rush on . "It is, however, most emphatically to deny that discourse is merely the means of expression of pre existent entities -individuals, social classes, political or artistic practices, 'history', the zeitgeist, structure or whatever else -conceived as independently constituted outside of discourse. It is to stress that discourse is itself a determinate and determining form of social practice: discourse does not express the meanings of the pre-existent order, it constructs those meanings and that order". 11 "an increase of theoretical activity ......arises whenever the function of criticism is itself in doubt".12 the web page could result in some alternative ideas about art criticism, working locally without negating the global outlook perhaps an IRC maybe a better alternative to engage with the computer as an alternative means of distibution. The illusion of difference where none exists, the identity of a thing with what it has projected/rejected its opposite .....is nowhere more apparent than in the regimes of the simulacra which make up the 'art world':\; nowhere more clear than in those incestuously intimate dances in which critical discourse, money, and image continuously exchange masks. 13 I know that we are not in Sydney, there are things out there how everyone processes them is different by relating the website to art is going in the right direction the liberating aspect of computer work is that it challenges notions of institutional art the web works outside the world of art it becomes art by contextualisation it is more about communication and it is up to somebody else to decide if it is of value the is a lump of stuff called theory and a lump of stuff called art. It is thus that art history, criticism, the market, and the museum, mutually circulate their meanings.14 what can be usurped by an artist can turn around things the reviews fall in to complacency and the problem of creating work is based on the presumption that the individual can make a difference and how modernist is that. everyone is on the same playing field as everyone else the individual does not make a difference the individual does however have an effect a lot of the work that is promoted is anti individual and anti artist as hero the reconstruction of the artist is done by the theorist you create and you can do what you like with the work. writers take the work and write about it and that is a secondary thing the artist drives to know what he is doing it is interesting that you brought that up in your art you are asked to develop your own pathway 'to shoot or not to shoot' is all words at the moment. "A crisis of legitimisation in science occurred with the dissolution of the positivist dream of a unified totality of knowledge built on observation, with the recognition that, in the words of Heisenberg, 'Natural science does not simply explain and describe nature.....it describes nature as exposed to our method of questioning'. There is no longer any singular 'reality' to provide the common ground upon which all scientifically rational demands of the people, or all instances of 'pure research' en route to a unified knowledge, can stand. Both major narratives of legitimisation therefore enter a terminal crisis".15 who invented the internet, aspiring to a non individual club. against the individual saying that this idea is mine when its a work its ok when its not its a problem. do we create a wave. I would not want to put my name to anything produced by terminus= if it was to base its criticism only a historical perspective. Return meeting 5 11.VHP The Visible Human Project: Data into Flesh, Flesh into Data Catherine Waldby Communications Studies, Murdoch University Draft for Wlld Biology. 2.Ibid. 3.Ibid. 4.Ibid 5. Ibid. 6 Sherry Turkle, 'Identity in the Age of the Internet' in Life on the Screen.7 Ibid. 8 Ibid. 9 Victor Burgin, The end of Art Theory. 10 Ibid. 11 Ibid. 12 Ibid. 13 Ibid. 14 Ibid. 15 Ibid. Terminus = Paul Thomas Mark Cypher David Carson Brian Mckay Jeff Jones Barbara Bolt Theo Koning Jeremy Blank Alex Spremberg INTRODUCTION MEETINGS. ARTISTS E-Mail: p.thomas@curtin.edu.au Terminus=