At a Crash Worship performance, the boundaries between the performers and the audience boil down to who paid money to enter the venue. If an individual paid money, then in the eyes of the capitalist legal machine, they are a member of the audience. Those who enter free of charge are labeled as performers.

The idea for the performance originates with the performers. However, the actual performance is created jointly by the performers and the audience working within the context of a specific venue. The ideas for each performance may change from venue to venue, performance to performance, or based on the actual assemblage of performers.

Crash Worship performances take place in venues with the emphasis being on venues as a space in which the performance is created. Some examples of venues include a junk yard on the South Side of Chicago, an abandoned bridge over the Mississippi River, a rave on an Indian Reservation, an automotive repair facility in downtown San Diego, and a alternative rock nightclub in San Francisco.

An individual theorist attempting to identify the inside and outside of the performance, the performers, the audience and the physical location would have a problem differentiating between the parts once the performance is in process (the text is being read).  In much the same way, the boundaries between inside and outside the text are almost nonexistent in a web text because there boundaries are not visible to the naked eye. (P. 59 & 63)

As technology changes, the relationship between the author, the reader, and the text changes: sometimes slightly, other times drastically. The changes created by the invention of the printing press took place over long stretches of time--it is no less reasonable to expect that the changes to the way we interpret texts will change as the Web plays a more prominent role in our culture

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