There are parallels in art, society, and culture and we can find them by looking closely at our culture. We are living in a moment when there has been a great shift. The development of digital technologies is merging the built world and the virtual world. In effect these technologies have broken down the previous continuity and have caused the reorganization and reconstruction of the definition and implementation of space and time. Consequently, time, which was once a factor of space, is now privileged over the construction of space. The continuity of time is ruptured. In effect, technologies have created a rhythm of permanent transit—a never-ending passive flow from space to space/place to place, that oscillates between uploading and downloading and between giving and receiving. The resulting culture is defined by individual isolation, the fleeting, and the ephemeral. Thus, at this moment, there is a discursive practice in development in order to reveal the contradictions within technological progress that have come to influence our movement and actions within western society and culture. It has been in development for some time now. This discursive practice is founded on the insistence that discourse is action and not representation; it defines itself using a set of categories and tools appropriated from groups ranging from the Situationist International (SI) to Relational Aesthetics to Interactive Art. We can begin to paint a clearer picture of this discursive practice by reexamining the following epistemological categories: Relational Participation, An Antagonistic Frame and an Activists’ Curation.