Ten videos and ten tunes on ten web-pages are forming ten identities for ten entities.
Putting It Out There as an 'open' system designed for the purpose of repeatedly 'hacking' cultural artefacts, required an equally 'open' system for communication that would allow both, the feedback from or the monitoring of the released entities in addition to the formulating wider discourses arising from the fictitious character's aesthetics and 'personalities'.
The social networking web platform myspace, is an 'arguably' accessible platform deploying 'user' generated content. myspace enables the account holder to interact and initiate media production and consumption, by the means of uploading, as well as downloading, images, videos, text and music, in addition to encouraging social networking and dialogue to take place amongst its users. However, myspace requires it's users to abide by certain rules and regulations determining the type of content that is generated. For instance, content deemed explicit or offensive can result in an account being deleted, in addition to this the inappropriate use of the myspace application, such as using its messaging or bulletin boards for posting 'spam' mail, can also result in an account being deleted.
Putting It Out There created a myspace account for all ten entities. The realisation of these 'characters' in a 'virtual' space, where transformations and interactions could be played out, necessarily places the entities in the position of a genuine 'personified' myspace user, hence all ten characters are treated as such by unsuspecting myspace consumers. The user's profile is a space where he/she has the potential to create an alter ego or present an alternative 'fictitious' self-representation. It is assumed, that for the majority of myspace accounts, behind each public profile is a 'real' person. A valid email account is a mandatory requirement of myspace if an account is to be set up, thus each 'entity' possesses a hotmail address, obtained using the objects 'own' name, for instance, "Disrupted Landscape", along with random 'false' London postcodes and addresses. Once a hotmail address was set up, each 'entity' gained access to its own myspace account. Both the hotmail and myspace accounts enable the potential 'hackers' of these 'objects', along with interested others, to interact with these virtual 'entities'. From this standpoint, Putting It Out There, intrudes on these popular media applications by 'hacking' or blurring the boundaries between the perceived 'real' persona behind a user's profile , the 'virtual' entity - the fictitious character of an existing object in cyberspace, in addition to the 'existing' and 'future' manifestation of the physical object in the world, as well as the 'current' and 'future' person/people behind the 'real' and 'virtual' entity. In cyberspace (virtual) and in 'real' space, these ten entities occupy an in-between space - where a layered unfolding of potential is initiated.
The indeterminacy of the 'open' programmatic system of Putting It Out There, is conducive to diversion by its potential 'users'. The recipient of the entity, having performed it's 're-hacking', acquires the object's 'digital' realm, by which he/she takes 'ownership' over the 'web' accounts, myspace and hotmail, and the contents held therein. The recipient thereafter, controls both the continuation of the project, the evolution of the physical entities, as well as the channel through which second generation entities can be transformed, communicated with and 'given up'. By handing over control of the virtual space to the next 'authors' of the 'hack', permits the 'hacker' to modify, recombine or completely renew the contents generated on myspace, which, as a platform of 'limited' aesthetic possibilities, by its nature, could lead some 'hackers' to 'move house' so to speak, and either install the entity on another digital media platform or possibly use the content to generate their own website or alternatively 'delete' the virtual entity from cyberspace altogether. The system operates according to users preferences, meaning, it is 'open' to radical shifts in direction, both through the modification of the object itself and the media platform that it occupies.