The 800-mile Trans-Alaska Pipeline System (TAPS) runs north to south, shore to shore, traversing many topographies as it winds through the state. Rappmund traverses with it, shooting hundreds of thousands of still photographs of the pipeline, revealing hidden rhythms and patterns along the way. Each “shot” of the film is composed of hundreds of stills, Rappmund’s hyper-precise digital imagery forms a cinema divorced from traditional notions of both framerate and representation. “For Topophilia I chose clips suggesting the landscape reorganizing itself around it; we gain a clearer understanding of the environment through the pivot point of an object placed there. . . . It was important to me to highlight interplay (and even ambiguity) between the artificial and the natural. An elemental, repetitious subject allowed me to experiment with different methods of working and to discover previously unknown-to-me rhythms.”—Peter Bo Rappmund.