SpaceJunk is an imaginative and exuberant visual representation of a phenomenon that most people are unaware of, but which is widely documented: the growth in the so-called space junk, which has been aimlessly orbiting planet Earth since the beginning of the 1950s, as a conse- quence of the exponential multiplication in the number of satellites and space vehicles. A sequence of images shows a paraphernalia of objects suspended in a virtual orbit around the Earth: satellites, a space station, mobile telephone, Coca-Cola can, camera, teddy bear, tree, aeroplane and pieces of satellites, to mention just a few. General views of the objects floating in space in slow movements and producing a captivating choreographic effect (citing the contem- plative shots of the outside of the spaceship in Stanley Kubrick’s film 2001, A Space Odyssey) alternate with views of the objects hurtling past at breakneck speed, as if they were being filmed from the space station as it navigates inside the ring. In this way, Miguel Soares fictionalises a routine observation mission performed by the crew of the space station (the model of the Hilton Hotel of the spaceship in Kubrick’s film). The perception of the images is intensified by the moments of silence, interrupted from time to time by brief sound excerpts, beginning with the sound of a beep, which the artist took from a small film that he discovered on the NASA website, in which the astronauts of the Apollo 11 Moon Mission communicate with ground control, entertaining themselves by describing the objects inside the spaceship. In order to com- pose the images, the artist used roughly 1000 3D models of objects collected from the Internet. In his view, the ring of space junk orbiting the Earth is a metaphor for the flow of information through the global network of the Internet. According to information technology, the “beta 1.0” of the title indicates that, at the time when the animation was made, the artist considered it to be a first, incomplete version. Miguel Soares ended up, however, accepting this version as the definitive one.