Edward Hopper's Nighthawks (1942) depicts not only four figures in a midnight diner, but also the spaces between them; the yellow light of the interior marking them as removed even from the city itself, through its contrast with the muted tones of the street and its shops. In Nightscreens, a pixel-reworking of Hopper's painting, these distant figures are replaced with screens, one of which glows briefly, before darkening again. Through this adaption, Nightscreens asks how computers might inform notions of distance and disengagement. Does Hopper's famous scene become more or less human in the absence of its lonely figures?