Nicholas Reilly-McVittie’s (Crewe, United Kingdom, 1993) video installation Worldviews explores the affinity between literal, optical views of the world and a ‘worldview’ understood as one’s ideological orientation. The video essay draws upon found material to link worldviews formulated during the Renaissance period to contemporary ‘views’ of the world produced through warfare and surveillance. In outlining this historical relation, the film seeks to consider what goes missing in any attempt to construct a clear, total worldview, questioning what gets lost in a worldview.—————————————————————————————— The video installation Unrequited Recognition by Nicholas Reilly-McVittie (Crewe, United Kingdom, 1993) and Benjamin Schoonenberg (The Netherlands, 1996) considers the nature of contemporary image-making technologies, examining their increasingly reflexive capacities in, for example, pattern recognition software. By drawing attention to their (mis)recognitions, the work considers how these technologies increasingly mirror the formation of a subjective identity (as understood in psychoanalysis) and thereby produce an unconscious that makes itself known through slips; when they cease to work as we expect them to. —————————————————————————————— The reading Inside Out, Outside In: An Interpretation of Memes addresses the increasingly precarious status of the Outside as illuminated by the twinned crises of COVID-19 and perpetual climate change. With reference to Romantic paintings, a series of memes and some psychoanalytic insights the text reconsiders any categorically distinct Outside through reference to leaks and fissures on the Inside.