Injectable lipid emulsions provided in 3CP bags that did not meet the globule-size limits of USP chapter 729 produced coarser TNA formulations than emulsions that met the USP limits.

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Joan Jonas’s large survey exhibition at Tate Modern (2018) highlighted the contemporary relevance of this pioneer of performance art in her juxtapositions of analogue and virtual methods. Her process often relies on a ground or stage where physical remnants of her performances are tangible. Drawing from these insights and exploring figure-ground relations through a selection of works by various artists and filmmakers, this article aims to challenge Hito Steyerl’s polemic that we might not need a ground within contemporary virtual image worlds. The consideration of case studies will be informed by philosophical reflections as to the relevance and scope of the idea of ground within the post-digital era.