With his Iceland work, Ruppert pushed this collision of nature and technology in a new direction. He took multiple images of each site he selected and composited them digitally. "It wasn't like taking a panoramic picture," he says. "It was more like capturing the thingness." The pieces are in a fluctuating state, some areas in focus, some not, with different focal points jostling together throughout. Ruppert heightened the sense of flux by allowing a computer program to decide where to stitch the images together, taking some of the choice out of the artist's hands. One such piece, "Hekla," is a 9-foot-long composite of a mountain shrouded in mist. With the pieces that show sky, Ruppert wanted to flatten them and make them all one color. He used a color-picking tool to choose a shade found in the landscape, and let the program figure out what constituted sky. In "Hekla," the program got a little confused as to what was sky and what was mist so that the border between the two is jagged and faltering. In typical fashion, Ruppert embraced this confusion of boundaries.