I invited an archer to practice archery on a balcony in a building. For the archer, the repeated rehearsals functioned to adjust his posture so that each time he was poised to shoot, the posture would be the same. However, with the setup of an out-of-place location, an arrow that cannot be released, and the lack of a target, the posture of the archer became a kind of scenery to be looked at in the building. The invisible crosshairs were an instance of not-yet-present tension.