The transfer of the “moving image” into physical space has been explored in many ways in recent years. Sculptures, architectures and even natural projection surfaces have been temporarily “over-painted” with projections, lights or lasers. But given the new advances in machine learning, there may be a kind of oversaturation or even rigor mortis when the moving image becomes the full part of the technical tool chain. In tech companies, universities and artists’ studios, machines work through and learn the history of mankind. Copyright is dissolving; the distinction between original, imitation, or inferior reproduction is eroding. No origin, no responsibility, no clear direction – just a primordial soup that can be shaped into any form without challenging knowledge systems and hierarchies. In this silent but radical restructuring of entire industries, the artist becomes the template of a future digitally assembled from a multitude of fragments of the past. This artist talk addresses some of the implications of this singularity, in which history collapses to a single point in the present, and in which easy access to an infinite reworking of iconography might override the desire for a phenomenological experience.