With characteristic insight, Roland Barthes once expounded on Gustave Flaubert’s treatment of a room belonging to a certain Madame Aubain, going all in when descriptively dwelling upon the sort of inconsequential qualities normally deemed extraneous to the exposition of plot. Such minutiae may possess an incomparable importance if one takes the time to savor them. Resolutely avoiding precious materials, Georgia Dickie has produced a process-oriented project that is, in part, a reflection on how to relate to these disposable details—the filler, as it were—as a means to embrace authentic experience