An animated vulpine creature, projected onto mirrored box that has been unfolded across the floor, delivers a stuttering account of a visit to a distant future. Drawn in part from H.G. Wells’ novel The Time Machine, the fox’s dyspeptic narrative and fragmented voice seem on the edge of collapse: words are repeated, languages interchange, and sentences dissolve. Enacting various scenarios of unreadibility or foreignness, Lislegaard’s new work takes up “science fiction” as a tool that—by imagining seemingly impossible future worlds and speculative modes of dissemination—can be used to reflect critically on current structures of communication, affect, and narrative. As the worlds imagined by novels like The Time Machine seem less fantastical amid present-day ecological and technological change, they can function as tools for modeling or testing out new structures and relationships.