RETURN

Nine squares chase each other and the cursor across the screen. Each square continuously maps its own location relative to a stable, archived photograph, updating it's position as it goes.

However, by the time each square's coordinates are read in to the system (according to which a small image sample is taken and stamped onto the screen) the square has moved. This produces a curious lag in the memory space between reading, moving and writing, which is what accounts for the distortion in the image on screen.

The user is ultimately engaged in a strange game of colouring in, filling in the screen with a spatial gesture, and thereby animating both the image and its distortion in a slippery kind of virtual, or memory, time. This memory time facilitates the construction of images which, while emergent and live, also bear the mark of decay and fragmentation.

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