The prints are records of an access problem. The digital distribution architecture – invisible, infrastructural, designed to control who has access to material and who does not – becomes visible in the frustrated attempt to save a licensed image.

By scanning the censorship directly from the screen [...] the image undergoes a further, optical and mechanical transformation. The scanner attempts to access the image in the same way it would read a document: systematically, line by line, with a light source of its own that leaves subtle traces of the process.