In ultraviolence, I explore the notion of play and the participatory roll of digital content as a subversive activity, capable of undermining generic or pre-conceived ways of seeing. I break down and externalize an idealized or systematic facade of digital content created within the visual code and strategies of stock footage and pre-made post production elements while simultaneously participating in use of “operative signs”. Irit Rogoff in “Studying Visual Culture” says, “visual culture opens up an entire world of intertextuality in which images, sounds, and spatial delineations are read on to and through one another, lending ever-accruing layers of meanings and of subjective responses to each encounter we might have.” In thinking about a screen dependent culture, we have begun to uncover what Rogoff says is a “free play of the signifier, a freedom to understand meaning in relation to images, sounds or spaces not necessarily perceived to operate in a direct, casual or epistemic relation to either their context or to one another.” The internet has operated as the pathway for a “free play of the signifier.” This has created a field of continuous displacement of meaning in visual culture through the use of a single visual element made for and reproduced with multiple meanings. In ultraviolence I use chroma key green, or whats commonly known as "green screen," as a blank slate for interpretation. Keying away the computer generated element of explosions from its original intentional usage within media.