Re-presentation is a critical artistic method for revealing the depresented, i.e. deliberately hidden, strategic origins of a designed visual object. I developed this as a method for tactically resistant visual arts practice, inspired by Vilem Flusser’s methodology for ‘playing against the camera’, itself a set of suggestions for using image technology in resistance to its compromised origins. Shifting between two voices, one critical and contextualising, the other speculative, this work attempts to perform a re-presentation of the Google Earth (GE) virtual model of a public park in Greater London. The writing uses Shoshana Zuboff’s dispossession cycle as a framework for understanding the role of networked, surveillant, robotic images in the corporate acquisition and control of human behaviour. I present traces found within GE, a familiar robotic vision of everyday life, that point to the depresentation, or deliberate obfuscation, of their role as algorithmically composed aesthetic objects in the project of sustaining and extending the power of surveillance capitalists. Given the composite nature of the robotic vision that is GE, the inclusion or exclusion of particular forms of anecdotal visual information in the representation, e.g. picnickers, are at first puzzling, later suspicious. The closely observed comparison of virtual and physical navigations raises questions around surface, friction, and embodiment that point to the disembodied flows of personal information back to the surveillance capitalism giant Google.