Nearing the house, she saw that everything had been worked up out of club archives, so that the whole environment was actually made of Lo/Rez material. You noticed it first in the wood-and-paper panels of the walls, where faint image-fragments, larger than life, came and went with the organic randomness of leaf-dappled sun and shadow: Rez’s cheekbone and half a pair of black glasses, Lo’s hand chording the neck of his guitar. But these changed, were replaced with a mothlike flicker, and there would be more, all the way down into the site’s finest resolution, its digital fabric. She wasn’t sure
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“Nearing the house, she saw that everything had been worked up out of club archives, so that the whole environment was actually made of Lo/ Rez material. You noticed it first in the wood-and-paper panels of the walls, where faint image-fragments, larger than life, came and went with the organic randomness of leaf-dappled sun and shadow: Rez’s cheekbone and half a pair of black glasses, Lo’s hand chording the neck of his guitar. But these changed, were replaced with a mothlike flicker, and there would be more, all the way down into the site’s finest resolution, its digital fabric. She wasn’t sure if you could do that with enough of the right kind of fractal packets, or if you needed some kind of special computer. Her Sandbenders managed a few effects like that, but mainly in its presentation of Sandbenders software.”
Reference
Gibson, William (1996, Sep. 4). “Idoru.” Kindle Edition. Chapter 14 Tokyo Chapter, p. 96 of 263, 35%.
