One factor in the demise of radical practice may be art’s own collaboration with the forces of spectacle culture. If visibility has become art’s primary horizon of aspiration, then for any radical aesthetic practice to be historically convincing, it must now define itself in opposition to that culture.

-- Andrea Fraser, Official Welcome, 2001/2003

The spectacle is not a collection of images; it is a social relation between people that is mediated by images.

-- Guy Debord, Society of the Spectacle, 1967

The heft of the 72,217 photos and videos on my camera roll weighs on me heavily. This obsessive and ever-increasing archive of deeply intimate personal footage intermingled with the now strangely familiar screenshot cacophony of Pepe the Frog, big-tittie hentai baddies, members of the Taliban, infinite variations of Wojaks, and highly pixelated images of war crimes, begin to erode the delineation between my own image, and theirs. Where do I begin, and they end? There is no me anymore. There is no them anymore. Through this obsessive archival impulse, we are now immanent in the spectacle that is the image. We must now become imperceptible. It is only through plunging ourselves into the infinitude of the image that we become imperceptible.