17th century Dutch landscape painting can be seen as a projection on the landscape. Hinting at possible outcomes as much as describing real situations, it represented a view and a preview at the same time. The short videos of ALL POSSIBLE WORLDS instead point towards that hazy zone on the horizon, beyond what can be recognized or described. The uncertainty of the edges of a map, of a terra incognita, animates the fixed view of the camera. Boundaries are blurred and signs, though still visible, have lost their meaning. The prescriptive view of painting gives way to a speculative space where distant events and immediate settings are brought together, where the happenstance and the trivial faces the silent flickering immobility of what has yet to be discovered, reached, named. Scanning this infinity we are displaced from our surroundings to chase traces, expressions of desires—no detail, a sea of pixels, moving images.