In collaboration with Sinclair Sincheli and Ashna Mali, the initial concept involved playing with "digital ghosts", native entities of a world that could only be viewed through viewports as if in an aquarium of submarine. Rather than source monitors, we ended up constructing them out of cardboard and projection mapping onto them, giving the added prestige of the contained creatures to be able to "fly" out of the bounds of the screen space. The narrative was then built around the idea of data archiving, in which the fidelity of video recording can truly capture not just a moment in time, but a motion in time. The recording becomes a permanent reference to demonstrate a life, a behavior, a way a pigeon walks to the way a loved one laughs. In the way taxidermy immortalizes life in reconstructed appearance, digital taxidermy immortalizes living in 10 second loops. 

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The installation itself focused on pigeons, presented as the "extinct" rock dove. It was structured in stages of archival perception, behavior in life, then human remembrance. Beginning with a spread of absurd representations including vintage cartoons and BF Skinner footage, it then begins to replace them with more personable handheld-like footage. As this continues, small recorded anecdotes of people's memories of pigeons begin to play to complete the digital reconstruction of what a pigeon was.