"Lynn Marie Kirby, in 'Photons in Paris: image encoding.3' (1997-2000), exploits the defects of the handheld recording camera and the jagged look of the 'playback' mode, while she attempts to get her son to stay within the frame of the lens, a futile exercise with a rambunctious two year old. These are two of the strongest works in 'BitStreams' precisely because they acknowledge through digital means the very human experience of technology."
- Barbara Pollack

"These works involve Kirby's manipulation of recorded material, but always with the aim of liberating time from the flux of the image track. Through a practice of live editing, literally 'scratching' the time line, Kirby creates 'time holes' at points where the hard drive simply can't keep up with her movement.

'Each live improvisation,' she explains, 'was with a 'gesture in time'...laid down in the time line. Moving back and forth created time gaps and new time relationships, often not linear. These time/space relationships were not determined only by me, but by the hardware/software of the machine.'"
-Email exchange, Kirby/Hansen, 2007

"I can imagine no better illustration of the 'essential' obsolescence, the inescapable artifactuality, of time: by using the computer's failure to operate in 'real-time' -- which is to say, the structural incapacity for its own microscalar time, the time of computer cycling, to coincide with 'time itself' -- as a basic aesthetic principle, Kirby manages to correlate time, or rather the temporalization of time, with the ineliminable, though constantly shrinking, material delay of computational processes."
- Mark B.N. Hansen

Contains Photons in Paris: image encodings, Out of Step, Study in Choreography for Camera Remote, Six Shooter, Fields of Grain, Off the Tracks, and Twilight's Last Gleaming.