ABSTRACT
Masaki Fujihata’s BeHere: The Past in the Present (2018–) is simultaneously an augmented reality installation and a mobile phone application. In this chapter, we focus on the latent or semi-visible image emerging from what we call ‘digital frottage’, remediated co-presence, and the affective anarchive (an archive that is also not an archive) in order to articulate the ways in which the vast quantities of found, data-processed images of a bygone Hong Kong era, micro- and meta-events, phenomenal and micro-temporal human scales, co-create prosthetic memory.
