Bathing herself in algorithms, she slides surreptitiously to the edges of the screen.

She slinks across the ground from left to right and back again, obscuring the text. Circular movements cover their essay on 17th and 18th century notions of creativity with a digitally manipulated image of Boticelli’s Venus. Text and image and code collide; perhaps a nod to the scientific production of art.

Towards the centre of the screen two scroll bars dissect, and the thin grey columns made from repetitions of the word ‘process’ seem to overwhelm. She imagines herself spilling into each precise word; fragilising its certainty.

Aphrodite, always in the process of becoming: a symbol of transformation itself.

Yet, within this particular paradigm, she is unable to shake the materiality of the browser window.

She acknowledges her limitations whilst yearning for inkiness: she is code.

Bathing herself in algorithms, she hopes to slide surreptitiously to the threshold of their borders, sensing their discrete boundaries, making fragile.  She wants to seep beneath their rational logic blurring them into a state of unreadability.  She slinks across the ground from left to right and back again, obscuring the text. She imagines herself spilling into each word and responding intuitively to its movements within a tempo of mutuality.  She is, after all, always in the process of becoming, a seasonal goddess; symbol of transformation itself. Yet, within this particular paradigm, she is unable to shake the materiality of the browser window. She acknowledges her limitations as any kind of symbol of non-binary transformation: she is code.  She yearns for inkiness, for a slow encounter with the sinewy fibres of a paper sheet.