|Rich text manipulation | interfaces throttled in lithium|

|Data binding tools | in addition to the functionality provided|

|The disgusted properties of object | existing only within the nauseated paragraphs | that are accessible only through the disgusting properties of object|

|The range is within | accessible through|

|A mechanism for inspection | indexed selection information in addition to the functionality provided|

|Language of images | A new form of power organised by chronological sequences disappearing behind digitised screens|

He had watched and re-watched the footage many times. Like a framed moment from a home movie it had overridden his memory of the actual event. The context had fallen away, his eye was the lens and there was nothing outside of its field of vision |The heavy mist above the asphalt | The car lingering downtown | Quick movements in pursuit of phantoms | Postures on balconies | Double visions of himself in dressing rooms|

He would always cut it before the end. He had appropriated an abridged memory even of the events captured in the recording | The clip had no end| but four minutes 32 seconds showed as the remaining time on the counter.

His friend still slept soundless beside him. He thought of waking him to ask why they were here and where they were going, but he didn’t. He could not understand why but he felt the camera held at least some of the answers. He weighed it in his hands, it looked and felt like expensive equipment. He assumed that it was his and he assumed that he had filmed the video he had watched. He didn’t know for sure.

It hadn’t seemed like a professional work, at times it had been very clumsy, sometimes hurriedly filmed, sometimes slower and more careful as if trying to memorise the arrangements of objects. Other scenes were filmed from a distance zooming in slow on faceless figures in crowded streets like a spotlight desperately searching |Searching for someone in particular | finding them and following them through backlit plazas of pixelated image| until playback paused.

|Arranged in sequence| |Languages of images| |Objects transitioning| |Objects continuously morphing and moving between states | existing in motion and spanning different points| |Sharing in different relationships and existences but remaining the same objects| |Self-replicating bootlegged copies | travelling and accelerating | negotiating and renegotiating the supports that enable their movements through the medium of the playback machine|

He was on an aeroplane trying to remember why he was on an aeroplane. It appeared to be a normal aeroplane minus about two thirds of the passengers. He rested the camera that he had been holding on the tray table in front of him. A familiar face lay sleeping to his left across an aisle of empty seats. He had the camera in his hands again now toggling through the footage. His hands lay empty upon his lap. The clip ended |4 minutes remained| |The video played| A city in time-lapse | simultaneously constructed and deconstructed |reduced to grids and abstract shapes | passing objects and accidental elements | trailing luminescence becoming patterns within the subject| |Repetitive imitative representations of transit points| |Connecting nodes within networks forming infrastructural arteries meeting at crossroads | exchanging and interacting in pre-programmed arrangement like neural pathways regulated by architectural measures|

The looped footage came apart at its seams. The last light emptied of its fluidity and multiplicity moved at a spectral pace across the concourse, and then stopped. One by one the pixels went out.

A display built into the seat in front of his showed an avatar of the aircraft imposed upon a map nudging onwards on its course. The Coordinated Universal Time was displayed somewhere between the criminal act and the representational act at the far left of the screen. |Ambient lighting| |Structured flows| |Combined use of wide-angle lenses and small lens apertures | forming long exposed compilations where he is seen entering the airport terminal and aligning himself with its temporal structures| |the patterned organisation of time denoted by β€˜checking in’, β€˜boarding’ and β€˜departing’|

Itineraries converged for the moment in the temporal periodicity of an in-between place, anonymised cargo put in the hold.

Passengers were drifting through the pavilion relieving themselves of their baggage and mapping linear trajectories through a community of objects: seating area, departures board, seating area, retail outlet, bar, bathroom, seating area, departures board, gate. The interior architectural features eliminating themselves, unwinding into indistinct and reconfigurable exit points. The wide expanse of tarmac ahead. The plane visible now like a patient etherised | shrouded by jetway apparatus.

He followed with the lens as the man moved in silent reflection |He focused and magnified | implementing space inside of itself until it assembled a self-micromanaged environment in which the man nudged nearer | magnifying further | creeping ever closer in trance-like escalation| |The man in quarter profile evading clear delineation| |Causal relations representing animating parameters in cyclical patterns| |The lens reaching its maximum focal length proceeding as if trapped in time| |Seeing him clearly now | seeing his face | vividly rendering the position of his body|

The avatar of the aircraft was revolving outwards in successive aberrations that failed to converge at any particular point |Overlapping \ at an angle| The tip of the blade traced a figure 8 in the air above the mapped territory of the flight attendant’s chest |Visions of flight paths simulated the descent of the blade through the rib cage | an abrasion below the clavicle | a diverted landing in the soft pit of the stomach| It remained aloft awaiting further clearance.

His friend’s ability to sleep through anything was beginning to annoy him now. He shoved him a few times, but he did not stir. He remained slumped there at an oblique angle, his legs resting across seats that were not in use.

Nudging ever closer in a blur of recurring gestures |Repeatable holding patterns charting linear trajectories through a community of objects| |Weaving borders| |Projecting future patterns| |Drawing inferences| |Magnifying further| |Re-enacting murder in sign language| |Avoiding clear delineation| |Plunging deep| |Folding upon pairs of golden lungs forming interwoven patterns of appearances and disappearances| |Jolting the narrative architecture| |A series of coughs and starts erupting from the disembodied voice of the flight attendant| |Face hidden behind a magazine like an invented crime| |The knife falling across seats that were not in use| |Looking back at the display | the looped footage coming to a close | the last light emptied of its fluidity and multiplicity | moving at a spectral pace across the concourse | coming to a stop| |One by one| |the pixels| |go| | . |

Daniel Harlow is not the author’s real name. He is a writer based in the UK and is the founder and contributing editor of Fugitives & Futurists. Insta: @fugitivesandfuturists

*Image credit: Artwork by Evan Isoline.