Locative Motive

The path to a concise and responsible definition of locative media contains within it the necessity to identify its antecedents. The simplest locative experiment requires taking any art practice, and allocating a location, or space, to it. For example, the ancient art of line drawing applied to a specific geographic location, transforms itself from a work of fine art to that of locative media art. In fact, with this simplistic outlook on the artform of locative media, all forms of art that are susceptible to a specific location or spatial relationship can be adapted to a locative art work.
Popular psychology teaches us that art is the external expression of inward, indescribable emotions and needs. Every stroke of paint reveals the accumulation and expenditure of angst. As the wheels of time turn inevitably onward, new methods of art manifest from new historical events and traumas and the need to express the feelings that accompany them. Consequently, as the world becomes more complex, so must our expression. Here we stand, now, on the verge of new media practices, discussing one of its offspring.
Locative media was conceived to express an inward emotion that all other present art forms could not convey. Our human existence, albeit grand and beautiful, is doomed to play the victim of the fleeting nature of time. It is the omnipresent notion that haunts our daily lives. We will be born and grow, learn, love, hate, fight and forgive; but we will all eventually die. Yet, we spend a great portion of our lives fighting this truth using the best available ammunition; media.
We fight to perserve ourselves in family photos and films, hoping that we can go on to live in the memories and lives of those around us. We relinquish the fruits of our lifelong labors upon skyscrapers, museums and hospitals in order to engrave our names in stone and iron. We strive to acheive heights that are deemed historically worthy to earn a few lines of print in the book of men.
We hope to give our lives a location.