As an artist, my main tool is context, and I mean that in the most down-to-earth way possible. I am obsessed with words and word play, with wise cracks and being a smarter ass than the smart-ass. I am tough to be around when I hit my full flow; every other thing out of my very big mouth becomes a riddle or a bad knee-slapper: my eyes twinkle and I laugh uproariously - I wish to negotiate any and all available perimeters. The key to my heart is a straight face and a quick wink. Good copy stops me in my tracks every time. My heros tend to be con men (con people), those "who get away with it", and anyone who successfully games the system, steps up to plate, beats the odds, (insert idiom here). I seek state of the art (cutting edge) wickedness and whiplash wit, a successful heist, making the impossible possible. I am genuinely interested and I do sincerely hope that no one gets hurt. One of my greatest strengths - to the point of it also being a weakness - is figuring out how the thing works so I can get around it.

Here are some other tenets (tenants? they live on this page - see):

I. "Whoever has the power to project a vision of the good life and make it prevail has the most decisive power of all."

II. "Ornament is dishonest because it contains forms that are aberrant to the basic facts of construction. Unlike sculpture and painting, architecture is 'the art of building' and should confine its medium to those elements that denote the true physical structure. We should not be deceived."

III. "In his writings, Plato presents the Sophists (rhetors who taught people how to speak well for the promise of commercial success) as wordsmiths that ensnare and use the malleable doxa of 'the mass' to their advantage without shame. He defined doxa as being a belief, antithetical to orthodoxy, that resided in the unreasoning, lower-parts of the soul" (gut instinct and unconscious knowledge, intuition).

IV. "The realest examples of [Pierre] Bourdieu's application of this doxa can best be seen where it sets limits on mobility within the social space through the characteristic consumption imposed on each individual. Certain cultural artifacts are recognized by this concept as being inappropriate to actual social position, hence it helps to petrify social limits, the 'sense of one's place', one's sense of belonging in society. This is closely connected with the idea that 'this is not for us': an individual's specific social context. Thus, individuals become voluntary subjects of those incorporated mental structures that deprive them of more deliberate consumption and different ways of living."

V. "Language is not merely a method of communication, but also a mechanism of power. The language one uses is designated by one's relational position in a field or social space. Different uses of language tend to reiterate the respective positions of each participant. Linguistic interactions are manifestations of the participants' respective positions in social space, and thus tend to reproduce the objective structures of the social field. This determines who has a 'right' to be listened to, to interrupt, to ask questions, and to lecture, and to what degree."

VI. "Heretical power, the strength of the sorcerer who wields a liberating potency in offering the means of expressing experiences usually repressed, the strength of the prophet or political leader who mobilizes the group by announcing to them what they want to hear, rests on the dialectical relationship between authorized, authorizing language and the group which authorizes it and acts on its authority."

VII. "Because any language that can command attention is an 'authorized language', invested with the authority of a group, the things it designates are not simply expressed but also legitimated. This is true not only of establishment language but also of the heretical discourses which draw their legitimacy and authority from the very groups over which they exert their power and which they literally produce by expressing them: they derive their power from their capacity to objectify unformulated experiences, to make them public - a step on the road to officialization and legitimation - and, when the occasion arises, to manifest and reinforce their concordance."

VIII. "Words wreck havoc", says Sartre, "when they find a name for what had up to then been lived namelessly."