The scroll is the aesthetic expression of a world-wide mechanism that is as much data collection as the network of movements it spawns for future absorption. A fifth dimension has been added to image-making: inheriting the legacy of perspective and film editing, meta-data, or the relational information linking images to one another, has become the invisible structure of the visible. If perspective and editing implied a specific spectator, one that acts as a vanishing point for a spatial totality and another as the affective receptor a flow of time, the scroll too suggests a specific beholder. Rather than lying outside of a composition —configuring it through sight— the scroller moves among a network of images. Ironically, during a pandemic when bodily movement has been limited, it appears as if the scroll has been consolidated as the new solution for the perennial problem of the visual representation of movement. A semantic displacement (a metonymy) as well as a movement from the inside to the outside (an atonement or metanoia), the representation of movement ceased to be solely a question of visual form or technical illusionism, to develop into the confection and control of networks of production and reception of information or, more precisely, of the infinitesimal movements of scopic bodies.