Azzarella:

The additive process of the system complicates the footage by duplicating and compressing many numbers of frames. Initially, the footage is placed onto fifteen different layers within the system of manipulations. Then the second layer of film is moved so that it begins exactly one frame into the first layer. The third layer is moved so that it begins exactly after the firms frame in the second layer. This continues for the remaining thirteen layers of footage-- with the first frame of the fifteenth layer beginning at the same time as the fourteenth frame of the first layer. After this process of off-setting the layers the opacity of each layer is decreased the eighth layer has the highest opacity at fifty percent. While layer nine has an opacity of forty-four percent, layer ten has the opacity of thirty-seven perfect, and so on, until layer fifteen has an opacity of six percent. The opacity manipulation is the same for layers seven through one. The information is then compressed into a single piece of footage, and playback [is[ decreased by fifty percent. As a result of the compression, this new piece of footage contains a compressed rate of 330 frames per second. Following the compression, the new piece of footage is placed into the system and the layers process commences again. When the entire process of offsetting and compressing is completed once more, the new footage contains 4950 compressed frames per second. This process of layering and compressing is execute fifteen times in each piece. The information contained in the final piece is a compression of 482,244,372,558,593,750 frames per second.

The resulting image is broken into prolonged and recurring frames where contours and colours blend the subjects into abstracted forms. Therefore, the record of reality is pre-presented as a disguised entity, depicting abstraction and almost allowing for the assassination to have never happened - thus the collective memory is abolished in the visualization of the end-product and only acknowledged by referencing its original source document.

Since the original image is altered through its visual transformation into a new image construct, the absence of reality thus is accomplished. The presence and absence of reality as Azzarella states lies beneath the "truths and falsehoods in the original recording." 4 The image turns into a work abstracted with no correlations between what was recorded and what is being presented. As such, unconscious processing of how to interpret the work is possible and removed from the collective memory or social conventions of how to respond to the work's original source footage. Each viewing will bring forward a different response related to subjective interpretation. Viewing "untitled #4" offers contradictory experiences and tensions between its current context of the event and of the past. This contradiction enables viewers to question individual memory and experiences and thus fulfills Baudrillard's concepts of hyperreality.

Footnotes:
4 Azzarella