Layers of synesthetic operations activate new affective fields and release complex and diverse emotions from the audience. The effect is that a fondue party is transformed into an initiatory cult within a dream that can't be understood linguistically and might be confusing or emotionally overwhelming but nevertheless can open up a forest full of repressed existential territories and aesthetic affects. When eating is perceived artfully in it's most open form and with all it's cruelty, food loses it's "real" (virtual) appearance to an eventful becoming and then repressed structures of subjectivity are allowed to emerge from the horizon.

The oral desires and anal mechanisms of self control need to be freed from capitalist discourse. It might seem that eating like an animal and shitting everywhere as art is to take the metaphors of psychoanalysis too literally. This sort of conclusion is missing the point. These most basic and private acts are in fact continually controlled by capitalist ideology and hegemonic conventions. We are taught everyday to properly consume food, words, thoughts, and ways of living without loosing control of our shit, our dangerous desires or without acting uniquely free as mad men would. Journey Within, aesthetically decomposes the discursive chains within the oral, anal, and plastic universes and detaches signification from perceptions and opinions surrounding proper table manners, eating habits, and many other common sentiments. New sensations and new relations need to be originated to liberate the nearby percepts and affects from the discursiveness that often dominates standardized mentalities and common perceptions. It is from liberated perceptions that radical subjectivities are formed.

We need to free ourselves from the comfortable table of capitalism that serves us familiar foods within far too familiar situations and expects us to stop living eventful lives and instead perform our duty as uniformed consumers. Journey Within activates wide-open subjectivities that are not afraid to face the indeterminate liveliness of everyday life, of desire, suffering, and death.

Aesthetic decentralization of everyday points of view or components of expression will deconstruct the discursive code in use and will disconnect the material functions of power from the materiality of basic sensations. During performances, specially after intensely sensational and "cruel" moments (cruel in an Artaudian sense.) , after the decentralization of power has taken place, re-composition of forces and motifs can take place and new existential territories can be invented.

The audience is given a chance, a relational field, to extract new and unbounded forms, meanings, oralities, moralities and percepts from the otherwise familiar dinning situation. The emergent moralities and modalities are more likely to be in closer contact with ecological and mental complexities of oral behaviour than if they were left centralized and directed by the subjugated tonality of standardized mentality. Through the "autopoiesis of aesthetic affects" new ways of living emerge from the performance and spread through the world. During the course of the staged meal something is cut open, eaten, digested, decomposed, and new ways of living and lines of meaning are drawn out from within and into the society.