Bodies moving through physical space and captured by the webcams, appear as dark pixels, generic beings devoid of character designation; they’re an absence visible throughout the steady flow of the digital image. In cinema, temporal continuity is determined by absence, by the lost interstices in the division between frames. This inter-frame absence separates a past (frame) and a future (frame); it manifests a temporal modernism. The absent figures in the webcam images are persistent; they permeate the footage, always there. In these figures past, present and future are collapsed together, there's no discernible separation, not post-modernism, but hyper-modernism; silhouettes traversing networks at digital time-scales: speeds, not just faster than visual perception as in cinema, but faster than thought.