With her environment momentarily resolved, the Angel reflects. 
She now sees the digital image as data in process,
shaped by stitched limitations, filters, bends and breaks,
imposed by the moment/um of a governing protocol,
forever deferring perfection.

Digital resolutions will never deliver a final, static image;
It is only a momentary myth within the procedural gospel of progress. An algorithm deployed in a specific time and a place. 


The Angel assumes her role as media archaeologist from the future. She begins collecting various types of limits embedded in the render pipeline. She hopes these lines will provide a way to start her collection of compromised, unsupported, unknown or forgotten image renders:
a scanline, a separator, a progress bar, a ruler, a mesh, an axis, a vector, a link, a loop,
...a generator, a discriminator...?

From these lines ,the Angel assembles a Binary Large Object or BLOb: an uncommitted form that doesn’t move upwards, but instead dissolves hierarchy into ambiguous dimension.
Best described as a fluid stack of shifting moiré patterns.
The BLOb becomes a living archive for all im/possible image pipelines.


Standing in front of the BLOb, the Angel considers how resolutions not only consolidate technology, but also dictate constraints on how she cannot - or choses not to - use them. They shape how she renders images, while foreclosing alternative imaging methods.

Her next mission is clear:
she will map every limit in the image-processing pipeline,
to compile an Atlas of Destitute of Vision, a collection of key observations for Resolution Studies, documenting how every technology defines what remains forever unrendered and unseen.