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Here's how: The photographic "moment" of, say, Cartier-Bresson and his decisive example shown to photography's infants, is here manufactured, produced as a synthetic version, aligning cameras to prove the decisive singular. The moment obviously never was real - profs the world over lecturing students about the HC-B "moment"'s effort in staging if not the puddle jump then whichever - and in its explicit production line here still functioning. The authenticity of the photographic moment's manufacturing doesn't seem to deplete it, its effective punctum remains, the "the wounding, personally touching detail which establishes a direct relationship with the object or person within it" can be synthetic and we still look, whatever was corporeal about it long gone.