complex” campaigning for cultural market share and “product” legitimacy and prestige, etc., have destabilized, disrupted and displaced art substantially over time. In a macro analysis, however, Media, as we have on a summary basis defined it in this text, has done more to marginalize art than any other force in the past 4-5 decades. This is a dimensional phenomenon, involving cross-sector operations, ranging from public policy to “patronage” to “air time” and - to complete the destructive loop - the “creative destruction” of the definition of art, itself. To put it blithely, art is in trouble.

To begin seeking a solution* for art, for humans (as opposed to “art” for - and by - “machines” or “art” for any other “_______”), we can commence by questioning whether or not senseFly’s Matterhorns belong in the same category of human expressive endeavor as the cave paintings of Chauvet, or the Classical bronze sculpture “The Boxer,” or Turner’s “Slaver Ship,” or a Pollock “drip” painting, circa 1948. If the proposed set, a comparative construct on one level, agitates the reader