Current developments in technology propose a trajectory and speed which has been termed an 'escape velocity': the 'virtual reality' environment in which you (supposedly) escape the limits of your physical body, space travel in which we leave the earth to colonise other planets, reinventing our identities through gender swapping and masquerade on the internet.

COTIS stands for- Cult Of The Inserter Seat. We are seeking to reverse this trajectory of the ejector seat by pushing against the tide of disembodiment in favour of re-inserting the body back into the gridlock of the earth. The earth is that on which we have permanently inscribed our presence throughout time, and across which we have traveled. From chalk drawings on hillsides and paths trodden in deserts through centuries of architecture we have left our permanent marks on the surface.

COTIS proposes a culture which buries its inscriptions, and reverses the telescoping of distance offered by high speed travel and telecommunications. In search of the ultimate fusion between man and machine it becomes necessary to invert the notion of innocence inherent in any 'return to the earth.' COTIS seeks and worships the sacred co-ordinates of the crash site and insert their dwellings into the earth, within the sacred site which was revealed and created by the crash. These locations are pre-determined under the guise of innocent progress, they are the in built reversal of technologies efficiency.

The dystopia of the crash and failure of travel technology carry on the narrative relay of travel and communications technology in the form of 'the report' - the evangelical satellites of news media and communication systems carry the story to our front rooms. There is nothing which causes these relay systems to pass the narrative baton as fast as a crash. The spectacle of disaster in the collision between earth and technology becomes the lense through which we try to locate a lost innocence of pre - impact. Obseletion being an integral process of progress, means the built in crash is where these narratives are born and it is here that the paradox lies. The locating (technological) devices are soiled (part of that same system), contaminating the process from the start as we attempt to capture and frame the meaning of innocence in the point of impact.

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