The two 360 videos show shelter dogs running unattended around a factory—chaos and diffusive canine nature conflict with human character. The apocalyptic space is no longer subordinate to people, where dogs, indifferently happy, challenge the human vision, favouring a non-anthropomorphic point of view. In the spirit of post-dramatic theatre, the complete improvisation, an absence of plot, and anti-mimicking actors (such as dogs) are both the theme and protagonists in the performance.

The 360 formats shift the conversation from cinematography to scenography, pushing the idea that this video could be understood in relation to the epic theatre or a specific experience. The nature of 360° video resists montage interpretation, which allows the non-subjectivity for the spectator, that is the key in understanding the perspectives of power between animals and humans and accounting of ‘nonhuman’ as ‘human’ forms of agency; requiring the spectators to become an active co-writers of the performance as John Berger argues that understanding the animal's gaze is to recognise that we are being seen by our surroundings. In many ways, this mimics how an environment of surveillance continually ‘sees’ us.