In the latter sense, Ebtekar is pointing to the (un)place in which the words might be standing, similar to Suhrawardi’s Nowheresville, a space protected from the perish that characterizes time and space. These windows, furthermore, reveal an eye gazing back. As the artist has asserted, the Untitled (Manuscript) series were created in part as an attempt to capture the Benjaminian notion of aura. In its most common usage, aura refers to an elusive essence that captures an object’s authenticity; a sense, Benjamin feels, lost both in mechanical reproduction and acts of translation. In a more neglected sense however, Benjamin uses aura as a "weave of space and time" that endows the object with the ability to open its eyes.

"Experience of the aura," Benjamin maintains, "rests on the transposition of a response common in human relationships to the relationship between the inanimate or natural object and man." As such, in "empty" frames of the manuscript pages, we are no longer looking at words that repress the unsaid, the unthought, to give us a sense of meaning; nor are we looking at the exotic original language sitting inanimately on the paper, but at something that gazes back, helping the audience to escape the panopticon of language. In conversation with other pieces, these gaping windows invite us to look for an oculus everywhere.