nameplates beside each door. The seeing robot sends the data back to a computer where the words are highlighted with a fuzzy, pulsing outline like an animated Texta marking. -- A tiny camera projects the inside of the human body onto a screen so that surgery can be performed without cutting the body open. The surgeon's hands guide a scalpel inside a dummy abdomen from outside the body, his eye trained on an image showing the scalpel inside the body. -- A seeing bomb picks targets out from a grey ground. The image resolution is so low that the large blocky pixels seem to move as the brightness changes. Every so often, the targets light up and become patches of bright, wobbling colour. These images are very beautiful, like paintings. The splodges of colour hum against the grey background. -- The words 'not propaganda yet an ad for intelligent machines'. 'The image becomes enigma when, by our indiscreet reading, we make it emerge in order to display it by tearing it away from the secret of its measure', the philosopher Maurice Blanchot wrote, (3) about how we read and how we think about what we read. Farocki's images refuse to be read so indiscreetly. Through montage, Farocki gives the image back its plurality. After seeing Respite (2007), James Benning describes Inextinguishable Fire (1969), that powerful film about napalm that begins with Farocki burning his hand with a cigarette. '"How can we show you napalm in action?" Farocki asks, "And how