Soda Lake Fugue States remediates my remote performance (winter 2003) at Carrizo Plain National Monument, where I attempt to install large scale transparent digital print scrims on an abandoned ramp-like jetty structure at the edge of Soda Lake, an alkaline sink playa. The scrims are printed in transparent lightjet with blow ups of screen shots of one of my first works for online interactivity, 47REDS (2002) now in the Rhizome Artbase (see link below). Tethered to the structure, the scrims whip and fold like transverse, multiple cuts in the visual field of a film. As an evocative label, 'fugue states' can refer to motions undertaken by persons suffering from disassociation--a temporary loss of awareness of identity--yet can also suggest the pulsing recursions of musical phrases in the art of fugue as a musical-architecture. Soda Lake Fugue States references ephemeral land art projects of the seventies; but acts differently within the sense of place: the remote performance, itself using the materials, literally 'transparent film', of cinema as a core ritual of editing 'in place'-- moves back into the electronic trace of itself, a fugue-like recursion.