Veteran artist James Nares’s recent film Street, which has captivated audiences at the Metropolitan Museum of Art, takes the digital aesthetic as far as technology will allow.

Late in the last decade, demographers declaimed that the majority of the world’s population exists in cities.

Urban planning emphasizes a stage production of modern aesthetics at the expense of all else. Glittering boulevards in the world’s most successful market capitals belie the fact that any dirty, degrading, or dangerous work ever happens there at all.