Entertainment is associated with the concepts of fiction and non-fiction. Fiction involves the projection of a willing suspension of disbelief with variables designed to further narrative progression. Indicators of traditional fiction include characterisation, foregrounding, plot and/or sub-plot[s]. Non-fiction is fiction’s logical counterpoint; chronology, history and “fact” play clear parts in non-fiction constructions. There are many variations on the standard fiction/non-fiction dichotomy.

Fiction and non-fiction classifications are designed to map to boundaries of known forms [think: cinema, literature, television and music]. They are so designed to provoke audience responses introspectively and externally. Current synthetic practices are refashioning this entertainment base via the perpetuation of types of unintentional and deliberately augmented recreation. These recreation types are reliant on immediacy of response, play, and Pranksterism. They employ Sandboxing, Gonzoism and spontaneous engagement. This type of entertainment is termed _Presencing_.

Presencing involves loose clusters of pursuits that evolve in, or are associated with, synthetic environments. Examples include the Streisand Effect, Supercutting, Flashmobbing, the Slashdot/Digg Effect, acts by the group Anonymous, Geohashing, Image macro generation and Internet meme threading. Less defined examples include: MMOG guild interactions [think: user generated games-within-games], Virtual World involvements, and Social Networking via application adoption and creation. These instances illustrate how Presencing pushes recreation beyond a fictionalised/non-fictionalised framework.

Presencing showcases accidental or reflexive entertainment elements where the fictional/non-fictional divide is erased; associated validity qualifiers are also removed and reconceptualised. Amateur production is equated with valued expression. Presencing also offers adaptive potential for augmented attempts at mediating geophysical constraints.