The action of the playback propels the viewer backwards and forwards through cinematic time. "The cinematic apparatus" is seen "as an agency to disrupt time." "Time is compressed or stopped inside the movie house, and this in turn provides the viewer with an entropic condition." (Smithson)
The action of the viewer moving in between the two screens is what orients them in their specific time as it telescopes inwards into fractions of a second. The viewer is found stuck in a (or series of) present(s). Their sense of temporal position is split as they control the movement of a mirrored image.
The condition of a perpetual present is more likely a relentless destruction of a point past it. By bringing the recent past into the context of a mirror, or present, and making it an actuality by giving a viewer agency over the timescale of their image, what is left is the presence of a latent anticipation; anticipation existent but not manifest. The future is never realized because it is a cycle of pasts becoming presents; an inescapable moment stretched out, superimposed onto the next. Time stops in between the screens as soon as you enter them.
The structural positioning of the screens and their relational time scales constructs a continuum of time. At the center the viewers movement stops all time and deactivates current experience in favor of possible experience. Moving to another end of the continuum propels them through the sort of anticipatory condition of the moment while the other end essentially catches them.
The screens become memory without content because they are nothing but past-ness emerging as present. In a way it gives the illusion of allowing one to construct their own temporal condition while actually removing any one prior.