Contemporary illustrated stories already offer so much deconstruction by themselves as to dismantle the critical view by its own methods. Video is no longer watched as a means to get carried away, but is an interpretable and temporary cultural product from beginning to end. What's interesting in video is its production process and financial boards, not the final visual experience. All that counts is the aesthetics of production conditions. The awareness that everything is an expression of the Zeitgeist is the most rewarding form of historicism.
Reality is just another marketing stunt.
What's more exciting is the cold turkey of drug-free watching. To sit through the edit, shaking and in a cold sweat - to look the medium straight in the eyes, without the dope, in defiance of any productive relations. Those who place their bets on the return of traditional boredom will note that the image has already adjusted to the masses' level of intoxication to the point where it is impossible to follow without physical intensification. Detox is an attempt to witness the second demise of the Occident - by watching without either being manipulated or manipulating the images yourself. The existential moment of video arises when the viewers and their videos are linked up beyond all power structures.