The haecceity, or quality of being present as an event in time and space, move the viewer to see history not as a representation of past events, but as a completely separate event. History and words become separated events through the individual reading of words. “Stratify” becomes not a representation of history, but a new event, holding only within itself a ‘thisness’ which is experienced when an individual views the page.

In addition to the haecceity of words, Deleuze goes on to discuss the “’body without organs’. This body without organs is defined by zones of intensity, thresholds, gradients, [and] flux” (Deleuze, Desire & Pleasure). Unlike the body with organs, which can be labelled and defined, the body without organs is “opposed to all the strata of organization” (Deleuze, Desire & Pleasure). ”Stratify” presents history as a body without organs. “In a system of 'bio-power' the stratas of information can well be organized into equal entities, and also hypothetically the power is given to the individuals through very old feudal beliefs. Under such veiled a dictation the knowledge and means for action of an individual become very limited” (TJADER-KNIGHT inc.). Words and images cycle through definitions within definitions under their own strata, which can only exist through referencing themselves back to words. “Stratify” works not to define power in History, but to present the viewer’s encasement within the meanings and definitions of words that are used to describe these events. In addition, because the viewer witnesses these documents as a haecceity of events, they are only capable to experiencing History in a fragmented and separated manner.

In all three works, the artist presents information through three sources - sound, video, and text. These sources form history’s primary trinity of documentation. Unlike history, which tries to conceal its disabilities, TJADER-KNIGHT inc. magnifies the fragmented and partiality of history’s inability to capture everything. Pictures become continually changing fragments. The artist removes passages from writers and philosophers and displays them not in their entirety. All of this unfolds while a sound of rhythmic vibrations endlessly loops in the background. The forces that select what to include in historical documentation is symbolized in TJADER-KNIGHT inc.s' selection of fragmented images and text. While history may purport itself to be a body of knowledge external and unmovable to that of human change, TJADER-KNIGHT inc. elaborates how history, as well as the individual, progresses as humanity dues through time and space.

The Internet serves as a perfect domain for these pieces. While removing the classical narrative from the works, viewers are given the power to create their own paths through their subjective experience with the works. Similar to hypertext, the viewer can change directions at any given time. Although the artist chooses what to present to the viewer, the viewer is left to use his or her own devices of interpretation. While hypertext allows one to change directions, it presents one with a fragmented and partial view of information. Like many who study history, a naivety is manifested in the assumption that history represents the whole truth. Similar to history, the Internet is sometimes presented as an immense library of information and many perceive Internet sources as authorities on information. Both views are misleading and are critiqued by TJADER-KNIGHT inc.s' highly fragmented yet formally complete artwork. While the work is fragmented to parallel fragmented information, the work is intentionally arranged as to invite the viewer to consider his or her own authoritative powers of interpretation. The use of the Internet motivates one to consider “several directions, several meanings, causes and grounds” in the discussion of authorities on historical powers.

The freedom to represent historical records on the Internet moves one to consider the possibility of a new power structure. By using the Internet, TJADER-KNIGHT inc., along with the viewer, share in the creative process of interpretation. While once reserved for the extremely privileged, the webpage gives relatively ordinary people the power to communicate through representing information. Despite Internet access still being reserved for wealthier nations, it nonetheless expands and spreads out the powers that could potentially recreate history. This expansion leads to diversification of knowledge in a non-hierarchical order and promotes a rhetoric of conflict through the various sources of information on the Internet. “Fugacity”, “Nothing U can DO !!”, and “Stratify” map out various forms of historical discourse while representing them in a multi-sequential form. The subjective view one takes within this multi-sequential view allows for a greater understanding of the framing of power in historical documentation of various mediums.

Written by: Michael Jacoby