In the variety of head holes offered to the audience in this work, they find themselves insinuated into several iconic moments in Australian art and cinema history. Their heads are put on the chopping block in a digitally animated version of Tom Roberts’ The Woodcutters. They find themselves driving Mad Max’s Interceptor Coupe while the third head hole places them in the Occupy Melbourne protests with AES+F’s Angels-Demons Melbourne Arts Festival work. Greenland immersed the audience in a history of seeing and recognises that we are in a transformative moment in the subject’s orientation to the world, to the state, and the mechanisms we represent ourselves in (from the digital to gallery spaces). Using digital and green screen technologies we captured the audience in n inscrutable modernist object – referencing Gropius’ monument to the dead, which was borrowed by Fritz Lang in Metropolis. The makes plain our relations to surveillance culture and suggests that the digital allows us to appear simultaneously in many places at once, all invented spaces, where the subject exists nowhere except in a loop of endless appropriation. CB